Watercolor Fruits and Florals Wreaths for Beginners | Joly Poa | Skillshare

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Watercolor Fruits and Florals Wreaths for Beginners

teacher avatar Joly Poa, Watercolor Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

32 Lessons (4h 12m)
    • 1. About the Class

      3:07
    • 2. Tips Before You Start

      4:40
    • 3. Materials

      3:47
    • 4. How to Use White Gouache

      4:13
    • 5. How to Paint a Lemon

      6:31
    • 6. How to Paint a Mango

      2:46
    • 7. How to Paint an Avocado

      6:12
    • 8. How to Paint a Peach

      7:20
    • 9. How to Paint a Banana

      3:59
    • 10. How to Paint a Pear

      5:14
    • 11. How to Paint an Apple

      5:30
    • 12. How to Paint a Papaya

      4:20
    • 13. Flower Elements Part 1

      9:59
    • 14. Flower Elements Part 2

      6:52
    • 15. Flower Elements Part 3

      8:41
    • 16. Flower Elements Part 4

      7:08
    • 17. Leaves Exercises

      9:51
    • 18. Lemon Wreath Part 1

      14:40
    • 19. Lemon Wreath Part 2

      14:49
    • 20. Peach Wreath Part 1

      7:43
    • 21. Peach Wreath Part 2

      8:46
    • 22. Peach Wreath Part 3

      10:01
    • 23. Avocado Wreath Part 1

      9:06
    • 24. Avocado Wreath Part 2

      10:15
    • 25. Avocado Wreath Part 3

      12:13
    • 26. Pear Wreath Part 1

      10:51
    • 27. Pear Wreath Part 2

      12:57
    • 28. Pear Wreath Part 3

      12:19
    • 29. Mango Wreath Part 1

      10:02
    • 30. Mango Wreath Part 2

      9:46
    • 31. Mango Wreath Part 3

      6:51
    • 32. Final Thoughts 1080p

      1:40
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About This Class

Hello! 

Welcome to this Skillshare Class where we will learn How to Paint Watercolor Fruits and Florals Wreaths.

I am currently pregnant and have been painting the fruit size of my baby to document his growth. I love painting florals and thought of combining these two elements into a wreath. Don't worry, you don't need to be pregnant to enjoy and learn from this class! :) This personal project really fueled my creativity and brought me out of my comfort zone. I learned how to combine two elements harmoniously into a beautiful wreath. And this is an experience that I think will inspire you as well.

Here are the things that we will learn in this class:

  • How to Use a White Gouache
  • Tips for Forming Your Own Wreath
    • Ideas on How to Place Fruits in a Wreath
    • Determining Color Combination
  • 8 Different Types of Fruits
  • More Than 8 Different Floral Elements
  • 5 Different Class Projects
    • Peach Wreath
    • Avocado Wreath
    • Lemon Wreath
    • Pear Wreath
    • Mango Wreath

Here is a photo of the fruits and floral elements that you will learn

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I hope to see you class projects soon :)

Happy Painting!

Joly

Meet Your Teacher

Teacher Profile Image

Joly Poa

Watercolor Artist

Teacher

 

Hi everyone! 

My name is Joly and I am a watercolorist based in the Philippines. I discovered painting with watercolor back in 2013. I started out as newbie and learned to paint better through making mistakes and learning from other amazing artists. I just love how we can express ourselves through painting, creating wonderful watercolor florals using our artistic interpretation. It makes each painting really unique! 

My instagram account (@jolypoa)  serves as my art journal where I post my progress in the form of timelapse videos, real-time videos and photos of my paintings. My goal was also to be able to share what I have learned in watercolor. I hope to be able to do the same here on Skillshare! :)


<... See full profile

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Transcripts

1. About the Class: today's watercolor class, we're going to learn how to paint fruits and floral Aries. Hi, my nearest Ali and I'm a water cooler, Artis based and different means. I'm also no one, asked Oladipo on Instagram. And that's where Pulis, my floral paintings and also my process with use. I am currently pregnant and over the past three weeks I have been painting the fruit size off my baby. Just a document. His girls. I love pleading florals and they thought off, combining thes two elements into a Reese just like this. But obviously you don't need to be pregnant to enjoy and learn from this class. Doing this personal project really fueled my creativity. And this is an experience that I would like to share with all the few in this class. You will talk about the materials that we need aside for a mortar cooler. We will also learn about you seeing whitewash and how it adds another they mentioned to our floral wreaths. I will also be giving you tips on how to form a wreath and also where to put the fruits and the florals in such a way that favor complement each other. Before we dive into the class projects. We will learn how to paint eight different types of fruits individually and also more than eight floral elements that you will also be using in the floral wreath. Everything is filmed in real time, so you will be sure that you can follow along as I paint this glasses with the bull for beginners or Four Seasons artists who want to try something new and you want to fuel their creativity after they only had to pay fruits and florals at the end of the class will be able to create five different class projects. You'll be able to learn how to paint a lemon res avocado reef, a peach trees, Berries, any man Gorey's. This was once a personal project that is now a class, and it really inspired me to create something new and just get out of my conference someone . I hope that you will enjoy this glass and so let's get started 2. Tips Before You Start: Let's talk about some tips before you start beating, you can download the class project for those as a reference I have uploaded them in. The resource is section here Some examples, and I will upload them individually so you can download the photos that you want to use. Let's go to tip number one. Make a rough sketch using circles to represent the main elements. Use an example before you start painting, drawing a grouchy for us as the main base off the floral wreath, and then draw some circles that you represent the fruits. Next, you can try to drill some circles representing the flowers. I suggest that you try to create mean elements in different sizes to make it look more interesting. So some flowers will be bigger. Some will be smaller. The spaces between the main elements will be the leaves and the fillers. Another tip for you is to make a pattern When 80 a reef. This will make it easier for you to conceptualize a wreath. Here is an example for you. I started out the pattern with the lemon, the rules and then the hydrangea flower. I just repeated the same pattern and the lower half off the reef, I suggest trying out making a pattern. If you are just starting out with watercolor tip number three, I'm going to show you different examples off how I please my fruits in the floral Reese in this reef, I put the three pairs in a triangle position. This gives it a balance look to the wreath, but to make it look more interesting, I decided to make one pair of sliced looking pair and then the other two or who'll pairs. In this read, The three beaches are placed beside each other, and they are on the left side, off the reef. When you look at this wreath, your eyes will focus on the left side, where the peaches are. He could also change the policemen off the peaches. It can be our three on the top or three underwrite or maybe three on the bottom. Another example is to put the fruits diagonally across each other, just like in this research, you can try to vary the shape off the fruits and can be sliced. Some can be whole, or you can also try to paint some fruits that are ripe. Some are not yet right. Tip number four is to choose the color combination that you want for your so wanted a student remain the color combination and depending on the color off the fruit that you have chosen in this read the lemon is a bright yellow color and then added a muted roses just to give a violence through that very bright yellow color. So it's not too overwhelming. I then added the yellow green hydrangea because the yellow green color is closed to the yellow color in the color. Real analogous colors are colors that sit beside each other and the color real. In this example, the avocado is green, and so I added different shades off blue flowers beside it. And because they are analogous colors, they look really good together in a Reese. Another way to choose colors for your wreath is through. Choose complementary colors, thes air colors that sit across each other as you can see. Yellow sits across Violet in this reason, mangoes or yellow and I decided to add some violet flowers and also some fillers. I also added some orange flowers that looked good together with the yellow mangoes, because thes two colors sit near each other in the cooler real. All right, so those are my tips. I'm pretty sure that you can do all of the class projects. So now that it's been going to the next video 3. Materials: let's discuss the materials that we need for this class. First, let's talk about the paper I'm using Saunders Water Ford High White in cold pressed. And this is 300 G s. M. That s the thickness off the paper. It's also 100% cotton paper. And this is in a block form, which means that all sides are glued and only one part right here. It's not glued. So that's how we will take. Hold one sheet and I'm going to demonstrate it to you guys so that you can see how to use this water color block. One of the reasons why a lot of artists before you saying a watercolor, Baucus, because it prevents your painting for more being or buckling while you're painting. Um, but of course there's a downside. This is more expensive than a loose sheet. To start, I would suggest that you buy a large sheet off watercolor paper and then just cut it into smaller pieces for practice. If you don't have 100% called and be, Burgess used any watercolor paper, it would be best if you could find a thick 300 years and mother color papers or that it doesn't buckle us much. Okay, so that's how you take out one sheet from the water color block. Let's move on to the watercolor paints and for the pain. Sometimes it comes in tubes, sometimes in half pounds. This is bakery and brand called Shien Han PwC. It's an artist grade watercolor paint, so I prefer pouring them in tow. Half pants like this are discreet. Pains are more pigmented, and it close better by the student grade paints. But of course, don't worry. You can use through that grade pains for this glass as well. One of my go to brushes is the silver brush, black velvet, size six and eight round brush. When choosing a brush, look for a brush that can hold a lot of water. But at the same time, it can still maintain its pointy tip, which is very important when you're painting some florals. Next is a kneaded eraser. Of course, you can use your regular Reeser. I just find it easier to use this and also it's cleaner to erase the pencil markings. And then we also need a pencil for sketching. Our wreath ends off the fruits and florals as well. Next, we need some clean water, and you can use any jar that you have. So he also needs and tissue paper to block out excess moisture and their brush. When we're painting, we also need a mixing palette. So this is just the lid off my paint palette. You can use a ceramic palette, or even just on ordinary ceramic plate that they use for dinnerware. Lastly, we need whitewash. I am using the brand, hoping you can use a different brand us well. Or if you don't have good wash, you can use, supposed to repaint. Or you can also use a white gel pin. All right, so that's everything that we need cannot receive do painting. 4. How to Use White Gouache: Now let's talk about quashed. So what is wash that washes something like in between watercolor and acrylic. So it comes out in a creamy form like this and going to squeeze out a little With a good wash, you can paint some opaque strokes. You can add some mortar just to dilute it a little bit. Once the wash is dry, you can also re wet it. Unlike a critic once, and acrylic paint dries, you cannot re read it anymore. Let's dipper brought in the water jar and topped the excess water out and just going to makes this gua sh on my palette. So you want a creamy consistency. Offer me. It's supposed to coat the bristles in my brush. It honestly takes practice to get the correct ratio off water and wash paint. Let me show you what it looks like when we achieve the right consistency. So I'm just going to paint a simple leave as you can see that leave this really, really go pick, and the paper that I'm using here is black watercolor paper by Stonehenge Aqua. You can also use different colored paper. Some people like you saying hot pressed paper for their good wash artworks, so hot pressed paper will have a smoother texture compared to cold press paper. And with GUA, you usually have a very clean edge when you're painting some florals or leaves, and right here I'm just showing you some examples or fillers that you can add to your Rees . I love adding wash to my watercolor paintings. That's because it gives more depth through the floral wreaths. We can paint some four battle flowers, some Berries, some fillers with small dots like this, something that I learned from painting with white washes that it drives easily compared to Ah, watercolor. So my Davis, just to squeeze a small amount off white wash paint and you don't need to mix on entire batch if you are just painting some white details in your wreath, a sign that you have a good consistency of whitewashes, that you're able to paint seamlessly and you don't have dry parts. Now let me show you what it looks like if there's too much water in your good wash mixture to right here, I'm just adding more water to the wash paint, and then it's just tried to paint another leaf as you can see, this mixture iss quite runny, and when we try to paint it, you'll still see the black water core paper underneath. And it doesn't look even all throughout the leaf. You'll see some patchy areas. And that means that, um, are consistency is not correct. So it looks really different compared to the first few corals that we painted. Okay, so I just Cui's a small amount of what quash again. I'm going to show you that you can try to layer Gua sha swell. You can try to paint on top off the previous paintings that you did. Sometimes I do this if I feel like the Gua Shi did not set properly or if it was to transparent, so you can just go over the first layer and you can also try to fix the shape off some petals or leaves. All right, so that was just a very quick introduction to wash. This is such a fun medium to try. I hope that you will also enjoy adding some white washed details in your 5. How to Paint a Lemon: All right, so let's start with a lemon and a lemon has an oval shape and it has pointy tips on two ends. I'm just gonna grab some water. And this is a size six brush and start feeling in this a lemon shape with water. So we are gonna do a wet on wet technique. And then now I'm going to grab my permanent yellow light and just going to mix that onto my palate candidness. Just drop it in the lemon, so that's just slowly fill it in. So I'm sort off outlining this lemon, and then I'm gonna rinse my brush and sort off diffuse some off the yellow parts in the center. Okay, so now let's just blend that in, and then let's grab some permanent yo deep, and I'm just gonna drop that in at the bottom, so this will look like the shadow off the lemon. And if you don't have permanent yellow, TP can also use yellow orange. The reason why I wanted to do a wet on wet technique is so that it's easy to blend the two colors in the lemon, so you have permanent yellow, light and yellow deep, so I'm just going to grab some bean ish yellow. Or if you don't have this color, can you sap green? Just add a little bit more yellow. You can also skip this part if you want to, if you want a really ripe lemon. So right now I think I want to add just a little bit of green just so that it shows that it's not yet really arrived. So this is optional. I'm just going to grab some burnt umber and then when the blood off the excess paint in my brush and I'm just going to put more shadow into this lemon and then experience are brushing with a blood out excess water and going to defuse that burnt on Burdett, I just painted. So, as you can see, just painting sort off just a line. Um, just wanted to put more emphasis on the outline off the lemon so that we look like a nice shadow. All right, so we're done with the whole lemon. Now this we wanted lemon slice so you can draw a circle before painting, or you concretely hand the shape off this slice. Let's start with the color permanent. A little light and just gonna mix that up onto my palate. Then that's paint the outline off this lemon slice. So you made this mixture a bit, um, sick. Just boulder in color. And I'm not so strict about, like the shape. It shouldn't be a perfect art round slice. And then let's just paint a thought in the same 30. So I know the center of this lemon slice, so this will serve as our guide. When we are painting thes small wedges, they look like, ah, small triangles. So that's been the outline first, and then I'm going to create some thin strokes inside, and I'm also leaving some white species. Don't worry about the white gaps. We're going to fix that later. And that's just being another Reg right beside it. So again, I'm drawing the outline, and then it's just paint some random thin strokes inside, leaving some white spaces. Now you also want to change the value of this yellow. You want some off the wages to be lighter, so I just stepped my brush into my water jar and took out the excess water and my brush. And as you can see now, I'm painting with a lighter yellow color. So that's just throw that all around until we fill in this lemon slice. I'd like to keep the registered quite wet because I would like to add some more color after we finish this. Okay, so on to the last wedge. So as you can see, it looks really pretty. If we have different values in this lemons life somewhere lighter, some are a bit darker. Now let's grab some permanent yo deep, or you can use yellow orange as well. And then while the wedges are still wet, I'm gonna drop that color in. So this will make this levels nice look more interesting, and there's more contrast. Let's drop that into some more areas. You can also add some off those yellow orange color on the outline off this lemon slice. Now let's drop in some greenish yellow, or you can use sap green onto the outline off. This normals lies off course. Is this is optional? Um, I'm only adding this just to make it look more interesting and show that some parts are still not us, right? All right, so if you think we need to add more contrast, so I'm just gonna add so more color. And if you like, it just makes it look this Levens Life's more juicy. Just keep in mind that every fruit will, of course, look a little different. And they're not all perfectly shaped. So don't read too much about it right now. I'm just fixing some areas, and then we're done. Let's move on to the next fruit. 6. How to Paint a Mango: let's move on to painting a mango. And I know that a mangoes will look different in different places. But what I'm going to paint today are mangoes that we have here and Philippines. I'm going to start way. It's all of a letter s. And then on the right side, just grow a letter C and then you'll be able to create the shape off a mango, and I just use a regular pencil. Then, right now, I'm just grabbing some clean water. That's just fill in this mango. And I love you saying the weather in the technique so that the colors will blend seamlessly . And then let's get some permanent yellow light. I'm gonna drop in this color and just let it flow in the wet surface and with a rinse my brush and just tap off the excess water. And then it's just blend this part over here. You can also try to fix the shape off this mango. Now you can need this s s so that it will look like a ripe mango. But the thing I'm gonna add, a little bit of green. This is sap green, and I'm just gonna drop this into this yellow mango just to make it look like some parts are still unripe. Muscular tissue anges blot out the excess paint in their brush. And then I will just slowly fix that green area and kind of faded and move it a little. The reason why I want to blot my brush first before working on that green area is because I don't want to introduce more water into this mango and disrupt any of the paint. Let's grab some Brent Amber. I'm just going to put a stem. But before we paint, I'm just going to blot out the excess paint in the brush so that it doesn't spread too much on this wet mango because this mango is still a little bit wet. Okay, so now we are done way. 7. How to Paint an Avocado: that's paint avocados so you can try to sketch the shape off the avocado first, so it's quite narrow at the top. And then as you go towards the bottom, it becomes wider. Let's grab some greenish yellow so you don't have this color you can just makes, um, your yellow and tap green just had a lot off water so that it will be Well, you did. Okay, so now it's paint the inside off this avocado. So I'm just going to fill in this, um, avocado with a greenish yellow mixture, and I'm not going to paint on the seed part, as you can see there. Stick an oval shape in the middle. So this is, um, a sliced avocado so you can see what ISS inside. You can also paint the base with just clean water first and then add the greenish yellow color. Now let's grab some sap. Green makes this color and the palate, and then it's paint the outline off the Africa Kado. I'm going to tell us about first, okay. As you can see, there's certain awful bloom, and it means that there's too much pain in my brush, so I just had to use my tissue paper and blocked out the excess. Okay, so now it doesn't spread us much. They have more control. So I'm going to continue outlining this avocado or than we will clean the sides up. We're done at this and the knowledge gabbar jar and with a rinse my brush and dab the excess water. And I'm just going to slowly fade the edges. You can see it's starting to look cleaner, and I blotted out excess moisture from my brush so that I can have more control. Um, in fixing the sap green area. All right, so that was easy, right? Well, now we're going to wait for this to dry before we add the seed part. But while reading for that, I'm going to work on the avocado. That looks cool. I'm going to start by painting the inside of the avocado with just water while the basis the wet, we're gonna grab some hooker screen and went to drop it in the avocado. We're not going to paint the entire thing with hooker screen, because the basis wet as you can see, the colors look soft. And then you can grab some sap green and paint some areas with sap green. So I'm adding different shades of green just to make it look more interesting so that it doesn't look flat, and you can try to combine the two colors in some areas. You can also fix the shape while it's still wet. Let's add a bit more definition to this avocado. I'm just going to grab some hookers screen again. So I'm gonna dip my brush into the pain and just slowly make a stroke on the outline of the avocado. Okay, so it doesn't look enough, so I'm gonna add a bit more hooker screen. This is more concentrated. This you can see if this will look like the shadow off the avocado, and you can try to sort off dab your brush and create a texture. All right, so this is optional again. This is just print number. I'm gonna put a little bit of fit towards the bottom of the avocado. Just I had some texture, just some color, a swell. And I'm letting blend with the green color under knees. And I'm also dabbing my brush, just leaving some small thoughts that will sort of fade away, and it will look great when it rise. Now that we're done with this, whoever called I'm gonna go back to the sliced avocado and going to paint the center or the seed with just clean water. I'm going to add some burnt number in the center, and I would just let it flow within the seed area. The Oval ship. If you feel like there's too much water in your brush, just feel free to blot it out. You're seeing your tissue paper to add some shadow through this seed and then the grab some sepia and you're going to drop it in on the lower left bottom. This will look like a shadow off the seed. Lead Syrians or brush, take out the color and then just blot out the excess water. And then the strike lift the color and Priti highlight on the operate. So when you're lifting that area, it means that you're taking out some off the color because we did this technique. It looks a lot better. It looks a little three D, and I guess we're done. So it was that easy. We can now move on to painting some peaches 8. How to Paint a Peach: Let's paints and peaches. So I'm gonna do a slice speech and a whole peach The start again. Sketch a fat heart shape or we can do this freehand. So let me start by rinsing my brush and I will grab some permanent yellow deep and I will add more water to this mixture. I will start with painting on oval shape. Okay, so let me just try to fix this shape. Then it's grab some more pain and went to paint a C stroke right beside that oval, and I'm leaving a white space and then the words here, the tip. We can fix it and make that pointy. Let's go around the shape and just try to fix it. And because this first layer is still wet, it's easy to fix the shape we can grab some permanent gross just going to diluted, and then it's just dropping some color. We might add some more later, so I'm sort of building the color of this peach, and I want intensify the color, so I'm gonna add some yellow orange. You can also makes the yellow orange and permanent Gross and just dropped that in. Okay, so it looks like me to intensify this, a more some gonna makes the yellow orange and from when it rose again. And this time I'm going to make it a bit, um, darker or boulder and then try to concentrate the color towards the middle of this speech. Okay, so now let's add some permanent groups, and I'm going to just drop it in on the outline, but it's spreading too much. So I just flooded out the excess paint in my tissue paper, have some more permanent roast and gonna makes it together the yellow orange. So this is sort of building the color off this speech. It's ad this color in the middle again. If it's spreading too much, just block out your brush so that you have more control and spreading the color. And I'm trying to add more contraindicated colors in the middle just to ah, make it look like the shadow. Well, that's intensify the some more, so I'm gonna makes another round off permanent rules and yellow orange and drop it in the middle off the peach to complete this. Look, I'm going to grab some Brent number and just put a stem on this speech. Let's move on to painting the slice peach and right here. I just drew another heart shaped and it looks like a fat heart, Um, but right now that's just fit it in with some water. I added some color to my brush, but you can start with just clean water, so my brush has a little bit off a yellow orange color. And as you can see, I am avoiding the center again. We will be putting some details in the center later. Now let's grab a bold yellow deep color. Or, if you don't have this, just use yellow orange, so just let it further out into the wet surface. And again we are avoiding the center. Now let's stab our brush into a tissue paper so that we can lift off some of the colors and create a highlight. And then let's grab some permanent gross. I'm gonna drop that on the outline off this'll ice speech, and if you feel like it's spreading too much, just blood your brush on the tissue paper for the center. Let's grab some Crimson Lake, and they wanted to be a bold color, and it's dab a brush in the center of this speech. So I'm just painting some fuzzy strokes and sort of stamping my brush and still leaving some wife's basis. And then let's try to add some off those crimson leg towards the edges so that it will bleed into the yellow orange color. All right, so we're done with the centre and right. I'm just trying to fix some of those, um, crimson later, traded into the yellow orange part. And then you can also add a little bit off color on the outline off this peach. If you don't have crimson, they permanent rules this okay? Just make it really, really dark, so that it looks good. As the center off this list peach. I decided to go back to the whole peach, and I did some more permanent rules just to intensify some off the areas and just give it a bit more corn crafts. Okay, so we are done 9. How to Paint a Banana: Let's paint a banana. So what we need to do is we need to draw to see curves that are parallel to each other, and you can just try to close off the tips and then let's do a weather and will take me. So I'm just going to paint the inside. We just clean water and then let's grab some permit a little light, and it's dropped that in. You can also try to rinse your brush to create a lighter value and be able to paint a lighter shade off yellow after the permit. Yellow light. We are going to grab some sap green, and I'm just going to put it right here at the top. So this is the stem part, and, um, I want to dab my brush right now and just try to blend in that sap green, try to blur it out and also mix it with the permanent yellow light. So we're diving our brush and bloody out excess paint in her brush so that we can easily control the paint on the paper. I understand to intensify this yellow a little bit and just grab some more paint and just create some strokes just to add some texture. Now let's grab some see Pia, and then it makes it on my palette. It's a little concentrated, so I want to put that at the bottom part of top banana, and then you can add a little bit. Understand? You can blot out your brush if you feel like the color is too strong. All right, so this is looking more like a banana, and they have here and my brush. Some Brent number. And as you can see, I'm trying to paint some streaks, some imperfections on the banana. Um, you often see this when it's, um, about to be for the ripe. Sometimes you'll see some dark spots, some imperfections, and you can just try to blot out your brush if you don't want it to be too strong, if you don't want to be too dark. But if you want to intensify some areas, you can UCP A. It's a darker brown color. If you want to add some more details right now, I actually added some details. Wilder bananas is still wet, so as you can see, the strokes look a little faded, and for me it looks a bit more natural. Okay, so I'm just going to grab some sap green and just add a few more, um, green details. Just some green strokes and the ganda, but and I still with with a damp brush, you can try to move around some off two colors. Just make sure that your brushes not too wet. You can grab some burnt number and add a few more brown streets. Okay, just a few more finishing touches and we are almost done. 10. How to Paint a Pear: Okay, so now let's paint a pair. So the pair has a similar shape to the avocado, except that the top part has, like, a more curve. As you can see, I drew the outline first, just so I have a guide, and to start, I'm gonna use yellow Oakar and I will dilute it in a lot off water. And then there's just pain on the inside. Off this outline, let's start painting thes sliced pear. So let's start creating the outline. I'm grabbing some greenish yellow and I'm going to dab my brush into my tissue paper just to block out the excess pain and we to start outlining. You can also grab a little bit of sap green. This makes it up that it looks interesting. So the other part off a pair it may have ah different colors, depending on how ripe it iss, so you can play around that you can add a little bit off orange if you want. I'm gonna rinse my brush and block out the excess water, and then let's try to clean those just and I'm going to lightly touch my brush into those parts that have bloomed, and I'm doing this so that I have a clean edge. Okay, so we're done that. And now let's grab some Brent number. I'm just gonna dab the excess paint again, and it's tried to put the small stem at the top. We're going to add more details, leader. So for now, I'm going to let this dry and then let's move on to the pair on the right, which is a whole bear. Let me start by wedding. The inside off this outline. I'm just using clean water, so you're gonna do a wet on wet technique again. Let's grab some greenish yellow and drop that in, and I will just slowly spread it. If you don't have greenish yellow, you can just makes your yellow and sap green. We can also rents are brush and just paint with a lighter value. It's time to add another color, and this time its sap green and I will just literally blended with the greenish yellow that we painted. And both colors are wet, so it's going to blend seamless city. Let's add a bit more contrast, so I just got some sap green again, and this time the color is bolder. I'm going to put it around the bottom just to create a shadow. Now this. Grab some print number or if you have any brown that you have in your palate and you're going to painted at the bottom off this bear just to give it more contrast and a more shadow. It also makes the fruit look earthy and look more natural. We can also try to add some freckles. I call them freckles. Just put some thoughts on a wet surface, and then it's Addy Step. It would be nice if you had a really fruit in front of you as your reference as what I said . You can add different colors. It depends on Ah, the rightness off the fruit right here. Just added a little bit off yellow orange call, right? So let's go back to the slice bear, and it's already dry. I just grab some really the looted yellow poker, and you're going to pay a thin line, a vertical line in the middle, so that's with one to painting the seeds. I'm just going to grab some CPR, and I wanted to be really bold in color, and then you could just put two dots first. That will be my guide. After beating the $2 you can slowly paint some two oval shapes that will look like seeds. All right, so that's it. And we are done. 11. How to Paint an Apple: Let's pains and apple, so you can also draw the outline off the apple. First, we need to see shapes, so the top part is broader than the bottom part. The first step that need to do is to wet the inside off the outline. So I'm just using clean water. So the first color that we need is permitted red, and I'm just gonna grab some color and makes it on my palette. Now let's drop it in and just Luli mover brush and then following the outline, Let's do the left part first can. On the right side. I'm going to leave some part Brit Light, so I'm gonna rinse my brush and I will blot out the excess water. Then let's just move some of the color. So as you can see, there's a part there that's still a bit white. So I'm doing this because I want Ah, highlight on this apple. Next up, that's crab Crimson Lake, and we want a more concentrated mixture, and I'm going to print this on the left side that will look like the shadow, so I want one side to be a little bit darker or more concentrated now Let's grab some burnt number and I'm going to make a more concentrated mixture and then just stopped excess in my tissue paper. And then it's just be the tiny stem. All right, so we are done. Let's now move on through the sliced apple, so the start. I will grab some yellow Oakar and I will mix it in my palette, and I'll add a lot off water. So we want this to really be diluted just so we can get the color of the flesh off the apple, and I'm going to fill in the inside off the outline so you can also pain the base. We just clean water first and then add the yellow ochre mixture. It depends on your preference. It's about time to pay the outline, and I will just grab some permanent red. You want this mixtures to be thick and concentrated so there's try to paint a small stroke , and if it's spreading too much to stab your brush into tissue paper, and then you'll see that you'll be able to control the paint in your brush better and just continue dabbing your brush. If you feel like there's too much paint in your brush. Let's go all around the outline off the apple. Okay, so now let's rinse our brush and blocked out the excess water, and now it's time to clean the edges. So this is like sweet being my brush and through that edge, so I can just clean it and make it smooth and let it blend out. Now let's grab some Brent number, and I'm just going to paint this most them after beating the Stam. That's wait for this life opposed to dry, and then you'll add some more details. All right, so this is already dry, and I'm going to grab some sepia and will pain some overall seeds. Now we need to make some yellow. Occurred is a very diluted mixture and went to paint a vertical line in the middle off the sliced apple with a them brush. I'm just going to slowly frayed some areas in the spot because the print number from the stem it's spreading too much, and I think I'd like to clean it a little bit. All right, so we are done 12. How to Paint a Papaya: so that's paint a papaya slice. So from what I've seen, papayas have different shapes. So the way too much about it looking so perfect, I have sketched a shape that is a bit similar to an avocado. You can also change it, Um, and then in the middle, I'm just going to quickly draw on oval. That will be where we will paint the seeds later. So right now I'm just going to paint some clean water, and we're going to do some wet on wet technique on the flesh off the papaya. Let's start with the color permanent yellow light and then a drop that in. We're going to slowly build this color, so I'm going to add another color later. Now it's grab some yellow orange, and I'm just gonna drop that end. We can blend that with the permanent yellow light. As you can see, I'm trying to avoid the center, keeping the center white, because we're going to paint some seeds later. Next, let's grab some for millions. If you don't have this color, you can just makes your own. You can probably create this by mixing red in yellow. Just add a bit more read into the mixture, and I'm concentrating more towards the centre off the papaya flesh. It's no time to create an outline for this, but by S. I just grab some sap green, and I'm just going to apply in this so it's spreading a bit too much. I'm just going to tap my brush into my tissue, and it's nobody move around the injuries of the papaya. Now let's grab some C P A. And they want this to be concentrated. So that's paying the seeds. I'm going to paint some small circles, just sums, really strokes. It would be nice to slightly touch the yellow orange part. As you can see, the C p. A is ah, blending with the yellow orange part. We can also try to rinse airbrush to create the lighter value just to make it look more interesting. So as you can see some off, the seeds are lighter in color, and beside it you can add a darker or more pigmented CPO color. I'm also making sure that there are white spaces in between the seeds so that it won't look like a big Lobell stark brown color. All right, so it seems like I need to Ah, Had a bit more sap green for the outline, so let me just fix that. Okay, so we're almost done. And this this one off the fun fruits, tether, easyGroup paint. And it would probably look so good if you could make a pattern out off this fruit. 13. Flower Elements Part 1: that starts with being being single floral elements for our Reese. With my size six brush, I'm going to grab some greenish yellow and makes it on my pounded. If you don't have greenish yellow, you can just makes your yellow and sap green. So added more water to dilute this color. This flower that you will paint, resemble something like a hydrangea, and this is a loose and easy style. So before we start, let's paint some strokes. I'm going to paint a C stroke, so I'm going to start with a tip off the brush and a slowly press it and move it in a curved manner. You can also try to pay the seeker of from left to right and right to left, and another stroke that you can do is to just press your brush onto the paper toe, create a petal like shape to start with this flower and going to create some random see strokes, and I'm creating this see stroke with different angles, and you can try to also stamp your brush to create a petal like shape so that start with the center of the flower and a moving around the center until we create a round shape. One more thing to notice that we need to leave some white spaces in between those strokes. And as you can see, we're not really that strict. When it comes to painting those strokes, it doesn't have to look perfect. And then you can also dip your brush and the water jar to create a lighter shade of greenish yellow. You can try to sweetie your brush. Um, in some strokes, you can use the full belly off the brush. Just press it against the paper to create a different shape. I usually don't worry too much about the first layer because I'm going to add another in there. And so let's just wait for this to dry. And once it is trial, we can start adding the second layer, and they have here some sap green for the second layer. I'm going to pay the same strokes. I'm going to paint some see strokes, and I'm leaving some off the greenish yellow strokes underneath, visible so you can still see it. And if you feel like the color is too dark, you can rinse your brush to create a lighter shade off. Ah, sap green, so just try to move around this round shape so this flower looks better if the edges off this round shape has some pointy tips that looks like petals pointing out in some areas, you can actually just use the tip of your brush to create a tiny stroke. Sometimes it looks like just a small thought or a smaller lion, and that makes such a big difference. You're done with the second layer, so let's just we create the dry and once it is dry, that start with the third layer I have here some indigo, and just going to mix it on my palette and weaken makes the sap green and indigo. So I'm doing this to create a deeper shade off sap green. So for the third layer, I'm not going to paint a lot off these strokes because the third layer will be the shadow off this flower. It will be the shadow in between the petals. And as you can see this flower, it looks a lot better because we added more contrast to it, and you can also do this in a different color. If you would like in some areas, I agree diluted by brush in the water jar and started painting this bluish green color for the edges of the flower. You can try painting ah, lighter color so that it looks better and looks very light on the edge and look soft. We're almost done with this impressionistic style of hydrangea. It can also look like a different flowers. So I guess it depends on how you view it. And now let's move on to a different flower. Now, this is what everybody looks one word to It's a white rose, but you're going to paint you saying a blue color. So I have here some really sick indigo color. This is going to be the center off this rules, and I'm going to start with a teardrop shape. But both ends are going to be pointy, so it sort of looks like on Elon gated diamond shape. And then right around that center, you're going to paint something strokes thin, see strokes using the tip off our brush. And then I want to rinse my brush topped excess water and just use the excess, um, color in my brush to create more see strokes. And this time I'm going to paint some bigger, see strokes and then almost using the full belly off the brush and pressing it against the paper. Some strokes can be just a line, and that's okay. And just make sure that there are white spaces in between. So when you go further out, you want the petals to be slightly bigger. Let's zoom in a bit. So right here. I just did my brush in the water jar, and I still have some color left on my brush and slowly building the petals, and I'm going around the Bruce. So if you want a lighter or happier shade of blue, you can grab some civilian blue and add a lot off water. Then mix that up with a little bit of indigo. So as you can see, the color is slightly different, and the colors it's not as moody compared to pure and ego. So if you don't have indigo and probably use, um, cerulean Blue, so I'm just going to continue painting more, see strokes and in preventing this rules from becoming just a round shape. So you want some like ruffles on the edges to make it look more natural and after this, we're going to wait for it to dry because I'm way to add another second layer. So what I'm doing here is I'm just readings off. The darker areas in the centre is slightly defusing it outwards, just so that there's agree. Didn't look. Now let's wait where this a dry and wants it is dry. We can add the second layer. All right, so I make saying some indigo again, and this time you want a lighter shade. It's not a start as the center, and I'm going to create some see strokes. Some of them look like lines, and I'm going to fade this by rinsing my brush and just using that water to fade one edge or one side off that stroke. As you can see one side off the stroke, look soft, and then the other side has a harsh or sharp edge. So I'm adding some more petals so the second layer battles will look more detailed, and this will give a lift through the rules, and it will make it look prettier when I'm adding the second layer and making sure that there's distance in between the petals and when one thing you can do is to alternate the pedal so that you're not going to have difficulty adding them. And in some areas I want to add more contrast. So I got ah darker shade of indigo, and I started painting some strokes. If some strokes look a bit harsh, just grab a damp brush and just slowly fade some of those strokes. So when you're doing this style off Rose, make sure that there are white species in between the battles. So it takes a lot of practice when you're doing this style and don't read about it. If you can't do it the first time, just try to practice again and again, all right, so I'm just moving around the rose and just adding some more strokes. You can also do this in a different color. Okay, so you're done. It's pretty quick, but they're sold this really good. And just remember that when you're painting flowers, it might not look the same every time you painted. But that's OK. That is what makes your painting unique. Now let's move on to a different flower 14. Flower Elements Part 2: All right, So in this video, you're going to paint a day, see, like flower, and I'm going to start with a concentrated mixture off yellow Oakar. If you don't have yellow curry, just use any yellow paint that you have in your palate, and I'm going to dab my brush and ate a round shape. This will be the center of the day. See, listen, how to be perfectly round and then it's makes up some story. Julian Blue. I added a lot off water and diluted it because I want the petals to be really light, and this will give the impression that this is a white petal. So just drag your brush and you can see that some off the yellow poker is being pulled away , and it's mixed with the cerulean blue. Try to create some small strokes and build up that petal. So sometimes I actually just use the tip of my brush to create some curve strokes, and then I add more curved strokes until it looks like a PETA, and I'm also trying to leave some white spaces in between. Some off those strokes, you can always go back through the previews petals that you painted. If you want to fix the shape or make it bigger, what I'm doing here is that I'm making the ends off the petal or look wispy. So as you can see, they're quite pointy. Now that's grab some See Pia, and I'm going to grab a lot of those and makes it on my palette, and I'll make sure that it's a very concentrated mixture and in a scrapper tissue and blood out excess moisture and going to dab it on the yellow ocher areas. We're going to pay like a ring off dots. And as you can see, you are able to control how it spreads because we blotted out the excess moisture before painting. Now let's rinse our brush and gonna dab the excess moisture. And then let's just clean the center, and I'm doing this so that we have a clean center, and you can also try to put back some color so we can grab some more yellow Oakar and paint on the center. Just add a pop of color and unless rinse airbrush and damned excess moisture and the tissue , you can try toe, pull out some off those CPR thoughts that we painted. As you can see, it gives more definition to the petals. Just move your brush outwards and it looks a lot better now. And the now let's grab a very diluted indigo color. So try to do this trick when the petals are already dry. So I'm just going to create some wispy strokes. You saying just a tip off my brush and that will give this flower some shadow in the petals ? Okay, so we're almost done with adding some details, and you can clearly see that it looks better with those tiny strokes that we did. And another optional thing that we can do is to add on indigo pain. So I'm just gonna grab some indigo if you want more contrast in this flower can add a very concentrated indigo. And I'm going to put some thoughts again just right where we put the CPS thoughts. So I just wanted to show you guys what it looks like if we had, like, a darker ring around the yellow Oakar, and then you can rinse our brush and dabbed excess moisture, and again, you can try to start pulling out some off those indigo color this gives more definition to the petals, and you'll see the separation of the petals. Just make sure that your brush isn't too wet, because if it's too wet, it will be messy to pull out the colors outwards. So you want to constantly dab your brush in your tissue paper. Now let's be the side view. They see I just have here some yellow car again and you're going to paint the center first , so this will sort of look like a dome. Okay, so now let's grab some cerulean blue and going to add a lot off water and diluted. You can also makes it with a little bit of India off if you want. And then it's paint some pet owes that are facing downwards. So again you can blot out your brush into your tissue paper. If there's too much moisture because this is a side view day, see, we're just going to be. If you were petals handling to pain just around three battles. Let's grab a little bit more off the yellow occur, just going to quickly fix the center off this Stacy. All right, so now let's grab some See Pia and I just stopped excess moisture and my brush, and we're going to paint some small thoughts. And then that's just rinse our brush and dab the excess moisture. I'm going to pull some off those CPR color and just create more definition for the patellas . Now you can also grab a little bit off the deluded indigo mixture. I can just add some more details. Had some thin and wispy lines to complete this. Look. I am grabbing some sap green, and that's just paint some stem. So I'm going to side with a side of you. They see. As you can see, I skips off the petals from the main flowers so that the stem looks like it's behind the main flower. Okay, so now we're way. 15. Flower Elements Part 3 : Now let's try to be in some simple five petaled flowers. And to start, I'm going to just prepare to color skin. I have here permanent you little light, and I'm also going to grab some yellow or inch. Okay, so let's go back to the permanent yellow light, and I'm going to start with one battle first. Just slowly press your brush against the paper and then lift it towards the end so that you get a pointy tip. Let's paint another one and going toe. Put a little bit of your orange in my brush, just the change of the color. And sometimes you can just paint some lines. That's okay, and I'm slowly building the petal. Let's just rinse our brush to create the lighter value. And as you can see him holding my brush in the middle of the handle just to keep it loose, go into the last better just going to close that up and creating some wispy stroke, some pointy strokes. Now it's grab some permanent red, and I'm just going to paint somethin strokes in between the petals. Doing this will give us more contractors. We'll look more interesting. I'm going to rinse my brush and that excess moisture, and that's slowly fixed sum of those parts. I'm going to smudge those red strokes. Let's start beating the center, so I'm going to prepare some burnt number, and this is a thick mixture, so that's just dab it in the center off this flower, and I will be using just a tip off my brush, and we're sort off stippling our brush and creating these strokes. Let's wait for this to dry and going toe. Add some details later, but while we're reading for that planter to dry, let's paint another one. I'm grabbing some yellow orange and just reading some wispy strokes. I'm trying to sway my brush and just use the full body of the brush to create a nice and beautiful petal stroke. You can also try to rinse your brush in the water jar to create a later value so that your flower won't look too flat because sometimes if it's just one single color, it will look flat. I'm also making sure that there are white spaces in between some off those strokes and also towards the middle of this flower and keeping it open because I'm going to add some details in a while now. This is a staple flower in my paintings, and I love beating this flower because it looks different every time I painted. And right now I'm using some permanent dread and just beating some small strokes in the middle. I am partially letting it blend with the yellow orange from the petals. Let's rinse our brush and grab another color. I'm going to grab some indigo, and this will be a thick mixture and you can dab our brush to take out excess moisture. And I'm going to just put the thought in the center. The red area seems to be spreading a bit much. Something's going to rinse my brush, take out the excess moisture and just absorb and fix that excess red paint. Let's wait for this to dry, and once it is dry, you're going to add more details. So I have here some permanent red, and you're just going to paint some thin strokes and you can start with a light pressure and then just throw the press your brush to create a father stroke and then lifted again. And this is one of the ways toe ad somewhere character to the flowers that your pain thing . So let's do this for all the petals and it doesn't have to be just one straight line. You can make it a little bit curved, and some can be like a broken line. Now that we are done with the base, let's make some gua sha. This is whitewash from the brand whole being and going to add just a little bit off water and makes this into a creamy mixture. You want us to have a creamy consistency because we want the wash to be quite opaque. And then I'm going to put some small white thoughts in the middle of this flower issue conceits slowly transforming. Okay, I'm gonna move on through the second flower, and I'm just checking if it's already dry. So you're just going to paint some fan strokes all around the center and doing this just gives it a lift and gives this flower more depth. Let's move on to the next flower. This is another idea for you guys to try. This is just the four Peto flour, and I'm using ultra Marine blue. I'd like to create a very concentrated mixture and it's almost quite opaque when we're painting this. So just use the full belly of the brush and just press it against the paper. And then let's create another one on the right. So for this flower, you don't need a lot off white species in between your strokes. I'm keeping the center open because I'm going to put a detail in there in a while now let's grab some greenish yellow and just going to dab a little bit off thought in the center. All right, so now I'm going to wait for this to dry, and then let's add more details. I'm just checking if this is already dry, because we're going to add some good wash details and when the grab some white wash and let's just paint somethin, curb strokes just like this so some lines can be broken. That's okay. And by doing this it will look fuller. And one of the things that I'm doing in this class is that I am sure you guys how to layer the floral. So instead of just painting ah, playing battle, we're going to add a second layer with either a different color or with quash and that's it . We're done 16. Flower Elements Part 4: way. So this is the last part off the Floral Elements video. Let's being a flower that resembles a variety off dahlia flower. So I have here some permanent yellow light and you're just going to paint some sample strokes. You think the type of my brush and going to paint. Some see strokes and they look a little bit elongated, and I just dragged my brush to create that stroke. We can start with the center, so I'm going to paint some downwards drugs and some see strokes beside it. How we're done with the top part. I'm gonna add a few more at the bottom. I'm keeping the strokes in the centre quite small and displaying my brush. You can also rinse, airbrushed to create a lighter value and just going around the center off this flower. I'm just adding more and more cease drugs. I'm also making sure that their spaces in between them and and for the other petals you can rinse your brush to create an even lighter value. Just make it look softer. Okay, so now let's just wait for this flower to dry, and you're going to layer it with a different color and while waiting for that to dry, let's move on to another flower. I'm going to grab some permanent if I lead and add some water to it. So before we start with this flower that's paints, example strokes, going to stamp my brush and just press it on the papers, you can see we've created this leave shape or it looks like a pencil, a swell, and I'm gonna do that a few more times. So just keep on adding thes petal or leaf like strokes, and I'm also changing the value off this permit Violet by adding more water into my brush. Some shapes may be a bit darker. Some are lighter in color. Usually when I start painting flowers or lose flowers, I start with a simple brush stroke, and I do that again and again until I get to form a flower like shape. You can also try to move around your papers so that you can get the best angle for painting this, um, stroke. And don't be afraid to experiment. Just keep on having these shapes as against cm gliding my brush to create thes strokes so we can also grab a more concentrated permanent violet and just intensifies, um, off thes petals. So this imaginary flower, it doesn't look much right now because this is just the first layer, and later on, I will show you what it looks like when we have put on the second layer. This is also a good flower toe. Add to your wreath because it makes the reason local further. All right, so well, waiting for this flower to dry. I'm going to go back to the first flower that be painted and went to grab some yellow or inch and just makes it up in my palette. That's layer this flower going to pay the same. See strokes. This will give more death through your flower, and you can also rinse or brush to create a lighter value. Just try to sway your brush. And don't be afraid to create thes unique brush marks. I am keeping the edges off this flower pretty loose. You can try to extend that stroke and make it a little bit longer like this. It's no time to wait for this to dry, and while I'm waiting for the orange flower to drive, let's go back to the violet flower Okay, so I'm grabbing some permanent file it. And this is a more concentrated mixture compared to the first layer that we did. Now we'll start to layer this up. I'm painting a small C stroke in each off the small petals. But I'm only painting about 1/2 off each pedals you can see. And by doing this, we're creating the car shadow. The darker part is the shadow. Just continue adding these small strokes, as you can see, because we added the shadow. This flower has more death now on its own. It doesn't look much. But if you added to your wreath just like this photo, it looks really great. And you're going to pay this wreath later. Okay, so let's go back to the orange flower. I'm going to grab some permanent red. This is the last stage for that orange flower. And just get the mixed that permit riddle my palate. They want us to be a little sick, and we're just going to paint some smaller, see strokes in the middle. Just add some contrasts. Let's take a close up shot so you can see it better and just keeping it pretty loose and just creating some nice and light stroke. You can also rinse your brush to create the lighter value. And for this part I'm not really going to add a lot off the permanent red because I just want to add some pops off color. And I'm also being careful not to overdo it. So be careful a swell and just stop from time to time to observe how it looks and we are done. 17. Leaves Exercises: start painting some leaves and right here I have some sap green, and I'm going to paint a line across this page just a very thin line. So with grabs or more sap green and I'm just going to paint somethin the use. So I'm just dragging the tip off my brush across the page, and I'm painting this sort office on s stroke. And then we can add CP Etter submarine to create an earthy color so you can try to mix up the different ah shades of green to make this leave more interesting. And you can also try to rinse your brush to stab the excess water out. Then you'll be able to create a lighter value just like that. Just feel free to move your brush and different angles. Sometimes you can try to wriggle your brush so that the leaves look more natural. Now, if you want a darker shade of green just makes up your sap green and indigo. This is one of my favorite color combinations because I just love how dark and rich this green color is so in some cases, and going to paint over the first few leaves that I painted so it in a way I am layering this leaf, all right, so that was a pretty quick leave shape. And now let's move on to a new one. I have your some sap green, and that's just paying a simple leave. I'm going to start with a small stem and going to slowly press my brush and slightly curve the bristles. And I'm going to do this in two strokes. After painting the two strokes, you can fix the tip so that it's pointy. Let's try another one. Let's paint it slightly longer lying this time, and I'm going to paint a two stroke leave, so just slowly press your brush and lif it towards the end, and that's paint another one. So just used the belly off the brush to create that leafy stroke. So in some cases you can also do a one stroke leave. Um, so what I love about painting leaves is that they look better when they are imperfectly shaped like it looks more natural. So don't worry too much about it being so perfect in shape. I do love to we go my brush a little bit so that they can get some ruffled adjusts in some areas. We're gonna leave this, as is because I'm going to add some details in a while, so we're going to layer thes leaves. Another idea is to paint some rounded shape leaves. I have here some sap green and ago, and let's just being a loop and story fill in the shape. So I think I would say that this or some wells a balloon. And this is another type of leaf that you can add to your wreath just to add more variety. Now it's pain e filler, so these will look like buds and going to paint. Sort off on oval shape with two pointy tips on two ends. And in this, just put a stem than that's paint some more, and later on, when this is dry, we're going to add some details. I would say that this is like an imaginary filler for Aries, and you can try to experiment with different shapes for the fillers. So that's something fun for me to do whenever I paint wreaths. Okay, so let's move on to another leave, and this time I'm just going to drag my brush across the period, create just a thin line and add some branches. And then the scrapper water jar Rentzer, brush and tap out the excess water and just going to stippled my brush. Just create thes loose strokes. You can try to grab a darker shade of green and staple that again on the brush. Just tamp your brush. I use just a tape of my brush to create thes unique strokes, and this Ali will look good if you change the different shades of green. So as you can see, some leaves here are a bit lighter, somewhere darker, and I'm just keeping it pretty loose. And also I'm making sure that there are wide spaces in between. All right, so that was pretty quick again. And just have fun with your brush and use different sides off the brush when you're creating leaves and fillers to create expressive strokes. And right here I'm just painting a simple eucalyptus. So I just drew some stems and added some oval shapes. I also made sure that I would change the value off the green color that I'm using just to make it look more interesting. And then you can add a little bit off indigo to add some darker shade off. These there is my brush and have the excess moisture and just paint some overall shape. As you can see, just let that park or bleed into the lighter color or the lighter oval shape. Let's paint another filler, so I'm just going to draw a line across the page and add some tiny branches. And then let's grab some permanent yellow light and going to again dab my brush. It looks like the previous further that we did. I'm just going to stamped my brush using the tip off my brush. I can also add a little bit of green so this filler will look like it has small flowers and feel free to use a different color. I usually add this filler if I want to add pops of color in my wreath and if I don't want to paint a full flower, so this is a good idea for you guys. All right, so this is already dry and like what I said earlier, we're going to layer this. I'm going to grab some sap green and mix it with indigo because you want a darker color for the veins that start with the usual vein, and I'm going to paint a thin stroke in the middle of the leave and add some tiny hands on the side instead of a dark color. You can also use white quash to paint some veins. How he's over the other in leaves. I'm going to just paint some random strokes, and this will make it look so pretty when you're painting a wreath, it will add more depth through the leaves. So this is a bit different from the first vein that we did. So I'm sort of mixing it up some off. My strokes here are bit thin there, some are thicker. And then that's move on to using white kalash. So I'm going to demonstrate how it looks like when you're painting some veins using White Wash so that so that for the other leaves as well and using just a tape of my brush to create somethin. Veins. All right, so now let's move on to thes buds. I'm going to grab some sap green, and you're going to paint some details just using the tip of my brush. I'm going to slowly paint some veins and in following the sheep off this pod. I'm slowly curving those lines. Okay, so we're done. I painted another set off leaves because the previous one was too dark and you can't see the veins that I painted. So I have here some sap, green and indigo, and you're going to paint some random strokes so you can start with the light pressure and then slowly press your brush to create a father stroke and then just live your brush again towards the end. And as you can see, it really makes a big difference in this leaf. So you can also try to experiment a different shades of green so that it will be able to practice more of thes when you're painting or class projects, nature. 18. Lemon Wreath Part 1: do you welcome to the first class project, So that's paint some lemon and florals reef. The first thing that we need is a round shape, so just crab in your own object and trace the shape. Or you can also do this free hand and then let's decide where the lemons will be. So, industries I have decided to put two lemons on the left, and to them it's on the right, so the yellows were closed for the limits. It looks like this, and we're going to create a pattern off them on hydrangea, rose, lemon, hydrangea and rose. This is an easy way to paint a wreath. So just spin point, a pattern that you would like to follow. And right now, I'm just going to grab my kneaded eraser and just tickled some off the pencil sketches. Do remember that whenever you paint on top off the pencils catch, you won't be able to erase it anymore. So I suggest to erase those darker pencil sketches before you start painting. I'm going to start with painting the inside off the lemon, and this is just clean water, so you're going to do a wet on wet technique, and I'm going to grab some permanent yellow light, and it's just dropped that in. So let's just slowly fell in the shape. And then I try to add a bit of shadow. I'm using the seal orange color, or you can also use the permanent yellow deep. And I'm I did on towards the bottom off this lemon. And then let's grab a little bit of sap green with a drop that in, and this will show that some parts are still not a stripe. And of course, I think that green part isjust optional can try to paint just ah with the permit yellow light. So I'm gonna move onto the second lemon, and I'm going to paint this with the screen water. But I'm going to leave a white space in between these two months, and you will see that in a while once I put in some color. So I get I'm using permanent yellow lights. So just right there, I'm going to leave a white space. I left out a white space there so that when you look into this wreath, you'll see that these are two separate fruits. So that's now Grab a big more permit. Yellow light. I'm just going to intensify this'll m one and can try to slowly fix the shape as well. And as you can add some yellow orange around the bottom area and also a little bit of sap green. Okay, so now let's move on to the lemon on the right, and I'm just going to do the same thing we're going to with the inside off the outline. And here's a close up video for you, so that's just low. You feel in this shape, and while it's the wet, you can try to fix the shape as well. You don't really need to follow the pencil sketch, and again it's add a bit of shadow. I'm gonna put some yellow orange around the bottom part, and I'm just thought ing this color, and it's going to just blend in with the permanent yellow light because this is a wet on wet technique, so it's easier to Brent two colors. All right, let's move on to the other lemon, and I'm going to wear the inside again. This time, I'd like to add a bit more green to this lemon, just to give it a different look. So when you are incorporating fruits into your floral Aries, try to add the fruit and, like different stages, so some can be very ripe. Some are still a bit green, and in some cases you can also add a slice fruit so that it looks more interesting. All right. So I went to drop in a little bit off the sap green again just to intensify that's color. All right, so now you're done with the fruits and they're already dry. That's not grab some indigo. I want to think mixture because we're going to paint the center off the rose. I'm just going to mix it in my palette. And then let's try to put a small thought as a guide, and I will just literally press my brush so that I can create the center off the rules. And then I'm going to attach some small C curves. Okay, so that looks good, and I'm going to grab my water jar and rinse my brush, tap out the excess water, and then I strike the paint some bigger C shape strokes. As you can see, the colors now light there because we rinse our brush so make sure that you have white species in between those battles, and I'm just gonna go around the center of the rose the straight assume in a bit so you can see it better. Okay, so let's continue painting the bigger strokes. So I'm just slowly sleeping my brush and using the full belly to create that See stroke. So in some areas, I'm not going to paint a full better. Some strokes can be just a line, and that's okay. And what we have to make sure is that we have some white spaces in between those petals, so you can also hold your brush in the middle off the handle. This might help you paint losers strokes. If there's too much water and your brush, don't forget that you can always stab your brush in the tissue paper. So right game is going to feed away some off the darker areas while we defer this rose to dry. I'm going to paint a hydrangea are right beside it, so let's just grab some greenish yellow band. Add a lot off water in the new that color, and it's just paying some small strokes. They look like smaller see strokes, and I usually do this very quick. So try to paint the cease drugs in the different directions, and I'll be afraid to move your brush and change the angle. In some areas, you can paint over the lemon. That's okay, so I'm going to stop here because the shape already looks good for me. But, well, we defer this to dry. Let's paint another hydrangea, just the actually across it. This is usually what I do to save time. When I'm ready for one flower to dry, I'm going to move on to the next. So let's just beat the same method for this hydrangea. And I'm going to stop when I'm able to create a bowl shape. So as you can see here, I'm changing the angle of my brush. It's like I'm dancing with my brush so some strokes don't necessarily need to look like C shape strokes. And that's okay. Being the A C stroke ISS just a guide for you. You can, of course, just try to dab your brush in some areas. Okay, so now I'm gonna wait with this the dry and while I'm waiting, I'm going to pay another flower Let's be another rules that this they are gonna be across the first rose that we painted. I'm still using indigo, and this is a thick mixture. So I started with the center, and then now I'm going to rinse my brush, just tap out the excess water, and now we can start being being bigger. See shapes, strokes so you can try to paint the strokes quickly. And that way you can create a more wispy stroking, more natural looking battle. Sometimes when you paid a petal slowly, it might look a little heavy because you're dragging it too much. So I do suggest speeding it quickly, and also you can use just about the tip off your brush to create some smaller strokes. Also feel free to add some diluted cerulean blue to your indigo mixture. All right, so another so white gap between the lemon and the roads, and that's okay. We can try to fix that by adding some more leaves later. It's now time to Lear, some off the flowers in this reef, and I'm going to start with the hydrangea. I just have here some sap green, and I'm going to paint on top off the first layer, and I'm just gonna do the same strokes that we did on the first layer. But of course I'm making sure that you can still see the first layer and that there are still white spaces in between the strokes that I'm doing and try to keep the outer area pretty loose. You can also rinse your brush to create a lighter value. All right, so that's just troubleshoot. I feel like this needs a bit more color, so I'm going to grab some greenish yellow. This is a thicker consistency, and I'm just going to add a few more strokes. So just feel free to add any color that you want, because this is your wreath and you're creating your own painting and you can always decide on which colors you want to use. Now I'm moving on to the other high grain jaw, and I'm just going to add more definition by adding a second layer. I have also decided to add some more greenish yellow in the second layer. Just a more concentrated, greenish yellow color. Thes two Rangers are still wet, so I guess you can start working on the roses. That's at the second year. Let's grab some end ago, and I think I'd like to deep in the center off this rule. So I'm going to grab a concentrated mixture off indigo and we'll just being on top off the first layer. Yes, you can see it's now deeper. It has more contrast. Then, when a rinse, my brush tickled excess paint and then you can start adding a second layer off petal. Okay, so now this pain, some see strokes. These are almost like sin lines. Now let's rates are brush and take out excess water and just slowly fade away those strokes that we just did. So the effect is that we're creating petals, but it looks soft because we're feeding one side off the stroke every time I add a petal, I'm drinking sure that there are white spaces in between where else? It might look like a blob of paint. All right, so we're done with the first rose and let's now move on to the 2nd 1 below. So I'm going to grab a thick mixture off indigo and again going too deep in the center, and then we're going to rinse our brush and just slowly create some see strokes, the color and my brush is darker than the color that we used for the base. Now, don't worry if the color is too harsh, he can always rinse your brush and just fade away. Those drugs. Ah, by doing this technique, you are creating some soft petals that looks very, very pretty. And we're also adding more depth using this technique so we can add a few more strokes just to add some more petals. And then let's go to Part two off this video. 19. Lemon Wreath Part 2 : Uh, okay, so now we're done painting the layers off the rose, and right now I'm just going to add more layer to this hydrangea, and I have here some indigo and sap green. Mixing these two colors will create a nice, dark green color. And for this part, I'm just going to paint some small see strokes. So we just want us to look like a shadow, and I'm putting it in between some off the petals so you can just use the tip off your brush and create some small brush markings. Then let's go to the other hydrangea. I usually try to paint this stroke in some patchy areas like this, and just to separate some off the petals because sometimes they might look like blobs off pain. And there's no separation between the petals, and then you can also try to rinse your brush to create a lighter value. So for some of the strokes, I'm going to blur it out. I'm just going to rinse my brush, stabbed excess moisture and just fade away, some off the barker strokes that we made. So I'm doing this technique so that it doesn't look too harsh and I usually try to keep the edges off this flower quite soft. Now we're done with the main elements off this Horrell wreath, and I'm just going to start painting some leaves. So I'm just mixing sap green and Prussian blue, and I'm using a size eight round brush stress so I can paint some bigger and leaves. And it makes my work faster because I'm able to paint a larger size leaves. But of course, you can use a size six round brush that's OK as well, and you can also try to rinse your brush to create a lighter value. And then let's grab some more sap green. This one is just your sap green, and you're going to close this gap in between the rows and the them one. So I'm going to paint some these right there, and it would be nice to change the value off the green colors so some can be later. Some can be darker, Um, and sometimes I also try to paint something strokes that look like stems. Now let's add a leaf just right at the bottom off this rose. So I'm sort of shaping the edge off this rose And that's one of the tips that I can give to you. If you're painting a white gross, try to add some leaves or fillers right beside it. Just so, um, it will pop up some more. So let's try to work on that gross nater. But for now, I'm going to grab some sap green and just paint some leaves in between these two lemons. Now, don't worry if you try to overlap this leaf on top off the lemon. That's okay. All right, so now that's cabs Impression Blue and added to our sap green. And I'm just going to paint some more leaves and, as you can see, actually paint one or two stroke leaves and keep it pretty simple and all restaurants airbrushed to create a lighter value, and I'm going to add some more leaves. You immediately see that when you paint these are flowers around this white gross, um, the edges off the rules will be more defined, so I'm just going around this wreath and adding leaves in between the main florals or the main elements. In some cases, I just paint somethin's Roques that will look like stem, and those temps will have either some Berries or other fillers that will look like small flowers. And I also add some lines like this as a guide for me. So sometimes I don't want to paint a leaf right away because I'm not sure if it's gonna look good. So what they do is I just beat a line first that will look like peacetime, so that if, in case I don't want to put a leaf, then I'll just leave it as a stem or add some other filler. It would also be nice to add some dark corn crashed between the main elements and the leaves, so some off the leaves I made them intentionally darker so she can see it. It's a nice contrast between the lemon and the darker shade off leaves, and then just try to change the direction off the leaves. It doesn't have always point outwards. He can sort of suede leaves so that, well, look more natural and right here I'm just using greenish yellow to add some more leaves, and I love adding this color to my reef. If you don't have the greenish yellow color in your parlor, don't worry, you can just makes your yellow and sap green, and that should be a good alternative. All right, so I'm just going around and just adding some small stems. This really helps me when it comes to planning for what? To add through this res. Okay, so now I have some sap green assistant. You did sap green, and let's just add a filler. So I'm just stabbing my brush, sort of stippling my brush to create these small marks. And then just to add some shadow, I've mixed up some indigo and sap green, and I'm gonna add that to this Ah, filler. And let's add some more thoughts on the stamps that we painted. Now let's rinse airbrush to create the later value so she can see it's not us dark as the other fillers that repainted. And this is the top few. And because blue and yellow are complementary colors, I tried to add some more blue elements besides the lemon, and I believe that this makes it more pleasing to the eyes. All right, so now I just grab some more greenish yellow, and I'm just stabbing some more filler. I will try to staple your brush to create thes small thoughts and try to vary it. So some thoughts are smaller, some are bigger, and then you can also grab ah, darker color, which is indigo, and I'm just letting them blend together. And let's go over to the other stamps that we painted and just try to add some more fillers . And I love that. This gives this wreath more contrast. You can also grab some cerulean blue and just add a lot off water. And that seems this color to also dab some fillers. As you can see, it's a nice, refreshing color that can be added to this res. Just try to experiment the different blues in your palate, all right, so I'm just going to add some stem and then it's just grab some more sap green, and I'm just going to add some more details. I'm adding some stems in between the leaves. I'm going to add some leaf on the top row, so try to observe how it suddenly had an edge. So we're not really done with the leaves yet, but I'm going to leave it as is because I want to add some go wash details now and then. After adding the glass details. You're going to check this wreath again as to where we can put some more leaves. So I just creates a small amount of quash, and I'm just mixing it to get the right consistency, and you can try to add some details now. So here I'm just adding some small Berries, and you can also add some four petal flower. So I love adding the gua sh details where there's a colored background so you can really see the glow wash to make it really look interesting. I try to add the good wash details, um, where you can overlap it on a main element. So right here I'm overlapping it on the lemon and also on the leaves and hydrangea. By doing this, you're giving more death to the floral wreath. So when you look at this wreath, you'll know that oh, some flowers are on top off the main elements, and some flowers are behind the elements or some leaves or behind some of the lemons. So this is just on interesting way to add more detail to our Reese. So right here I'm adding a five petal flower and the color behind it this dark green, so you can clearly see that it just pops up. I think that adding white washed Ito's through your paintings. It's a good way also to hide some mistakes that you did. And not only does it hide the mistake, it also makes your painting look more beautiful. All right, so this is a top view video. As you can see, the painting looks fuller now because we added some white wash details. It's such a simple trick, but it just makes your painting 100 times better. Now let's add some more Berries over there. So, as you can see, I'm trying to paint on top off the leaves that he painted. That's why the leaves are quite opaque and dark, and then in some areas you can also paint on top off the glass details that we just did. If you want to make it whiter, you need to layer it. Now let's add a dark center to some off the flowers. I'm just using Indigo and just going to put a thought in the center. Now we're done with the good wash details, and right now that I'm doing is I'm just checking out some areas may be some small gaps that need some leaves and just going to put some small stems in between, and I can also try to add some fillers. Also, in some areas, we can try to layer the leaves just so it will make the Reese look fuller. Now let's grab some sap green and going to add some leaves near the hydrangea. So what you can do right now is to actually take a photo off your painting and then from that photo, try to observe if they're areas that might have a small gap. So just looking at the photo just gives you a different perspective because you've been painting for too long on this wreath. So sometimes we can't really see the small details anymore because we got used to the same image and the same perspective. So right now I'm just going to add some dark green stems. So when you're forming a breeze, try to also think about the color combination first. So what I did was that I just revolt around the lemon, so the minus yellow, and so I want to add some more blues into my Reese and a little bit of green, and that just makes it a harmonious wreath. All right, so we are done. Congratulations on your first class project. I hope that you enjoyed painting this wreath. Let's move onto the next one. 20. Peach Wreath Part 1: do you? Let's pain peach and florals reef. So the first thing that we need is to draw a round shape, so just use any round object that you have and then just trace it. And then we need to pinpoint where we want the main peaches to be. So I've decided to put it on the left side, so I'm not a re seeing some off the pencil sketches. Like what I said before. Once you paint on top off a pencil sketch, you won't be able to erase it anymore. So if there are unnecessary pencils, get just just raise it before you start painting. Let's start with the first peach and I'm going to add some water and just so you can see it , I added a little bit of color to my brush. And let's just be on oval shape and then right beside it. I'm going to just paint a leather see stroke, but make sure that you're leaving a white space in between those two shaves, so you'll see this division in a while when we have dropped in some paint. The first color that I would be using this yellow orange so it's just dropped that in and fill in this oval shape. And then I'm gonna move on to the sea stroke that we did. Andan this. You can see there's a white line right there. Now let's grab some permanent grows and just drop in that color. We're going to try to blend that in a while, so if you want to blend it, just raise your brush and dab it in the tissue paper to get out the excess moisture. And then I got a bit more permanent gross. That's also grab some yellow orange, and I'm just trying to intensify the color. So that's the beauty off the wet on wet technique, you can add another layer of color while it's still wet, and it will just blend in. Let's move on to the second peach. This time, the peach is going to be a sliced peach, so we will see, um, more details inside, and I'm just going to paint some water again, and it won't be touching the centers where I left it dry Then Now let's grab some yellow orange and going to drop that in and spread it so she can see and try to avoid the center. The she looks similar to a hard shape, but it's just a bit, um, fatter on the side. Now let's grab some permanent rose, and I'm going to blot out the excess paint, and you are going to pay the outline off this speech because you were able to block out excess paint in. There were brush. It doesn't spread like crazy, so we're able to actually control the pain that's not clean. So off the edges. And I'm just going to rinse my brush and blocked out the excess water and my brush. And then now we can start sweeping those edges and letting them blend together with the yellow orange apart. Now let's grab some Crimson Lake, and I'm just going to dab it in the center. As you can see, I'm using just almost a tip of my brush, but I'm also leaving some white spaces in between the strokes and just let it plan with the yellow orange flesh off the peach. Okay, so now this move on through the third and last peach. Let's do the same method. So I'm just meeting an oval shape and I've added a little bit off real orange in my brush, but you can also paint this with just clean water first. And then let's paint a C stroke right beside it. You think he needed a reserve is going toe clean some off the pencil sketches that I don't need any more. So now let's go back into our peach, and you can try to fix the shape while it is still wet, not making one end pointy. All right, so now there's try to add some permanent gross, and I love that it's blending in with the yellow orange without it looking too harsh because we're doing the wet on wet technique. And then let's add somewhere color. I'm just grabbing some yellow orange and you can also makes yellow orange, and the permanent grows so right here. I'm just going to continuously fix the shade and making this a little bit bigger. Let's add some permanent rose and added in the middle near the white line, so I'm doing this to just create a bit of a shadow way. Now that we're done with the three fruits, I'm going to add some flowers. Let's start by mixing permanent, violated with permanent rose so I'm just going to soften up this color and add a lot of water now, This part painting some battles and I know it would make much sense right now, but this is going to be layered once it is dry, so I'm just going to add it randomly and still. I will leave some white spaces in between those petals. So in some off your strokes, feel free to add a little bit more off the permanent gross just to add a little variety to this flower. So while waiting for this to dry, I'm going to move on to another flower. So that's just makes permanent violet and ultra marine blue. Let's start painting some petal like shapes, and I'm going to add a bunch of them. I'm also going to make sure that the formation off this flower is a little bit curve so that it's following the shape off the reef. You can also try to raise your brush to create a lighter value, and you can also try to vary the size so some can be a smaller path. Awesome can be bigger. That's wait for this to try, and then let's move on to the next video for Part two 21. Peach Wreath Part 2 : do you? Let's continue painting this reef, and I have here a mixture off permanent violet and permanent rose. So this is a more concentrated consistency, compared toa the florals that we painted a while ago. I am beating a four petal flower, so just try to keep it loose and just used to full belly off the brush to create an expressive stroke. Now let's rinse our brush and it's grab some indigo. I'm going to drop this in the centre off the flower just to give it more depth. All right, so let's move on to a different flower. I'm gonna grab some for millions, and you can also use your red orange color. So that's just paint a four Bedol flower. Okay, so let's add another flower. I'm going to grab some yellow orange, and it's the same thing. I'm going to add another four pedal flour and let's just keep it pretty loose. So after beating the petals, we're going to add ah, darker center. So I'm just going to grab some red color and just dropped that in and let it bleed into the yellow orange petals. Don't worry too much about the shape off thes flowers because we're going to add a lot off the use, and it's very easy to cover up some mistakes, All right, so it's not time to layer the flowers that we painted earlier, and I'm just mixing permanent violet and permanent roast. This is a more concentrated mixture. Let's just paint some see strokes. I'm beating just about half off each PETA, so you can see that there's a light there area in the darker area. Let's just continue filling them in, and it just gives this flower more death, and now it looks a lot better compared to just the first layer. When you're in the hearing flowers, make sure that the first layer is already dry before you add a second layer, and this is to ensure that you get a nice, crisp second layer. And right now I just makes permanent violet and ultra marine blue again, just more concentrated mixture so I can add more shadow through this flower. You can also add a few more petals just to fix the shape, and this is another idea for you. You can grab some sap green and just mix that up on your palate and added in between the petals so that it will look like small buds. So what I'm doing is I'm just adding it in the white caps and just connecting it with the bods, and I think it looks better this way. It's about time to add some more leaves, so I'm just gonna grab some indigo, and it also have some sap green on my palette. Now I'm going to add a leaf right beside that orange flower. Let's add one more, and then you can rinse our brush to create a lighter value. Doing this gives it a beautiful contrasts, and then you can also add some small stems beside it and also some darker and leaves. Use the tip off your brush to create those expressive markings that I'm doing and try to paint quick lines or quick strokes. And look at that area just looks so beautiful and so natural, and I'm going to start working at the top and add some leaves over there, and I'm using a size eight round brush, and it helps me create bigger Bethel's to make it look more interesting. And my the impression blue and painting that as they leave We can also add that our sap green So this is one of the fun parts of BT. A wreath. Try to mix any color Dear Green, and you'll discover new colors started. Look great. So I'm just painting more lines. That look likes them, and I'm going to add some more details on that later. But for now, adding some stems will help me. It will be my guide for this Reese. Now let's grab some ultra marine blue, and I'm going to add some bods on those stamps that we painted earlier. Less ruins, airbrush to create a lighter value. And I don't make this power look more interesting. So just dab your brush. I am sort of just time being my brush to create a unique brushstroke. And then right here I just used greenish yellow to add some more leaves, and I did a bit off indigo. Let's go around this wreath and look for more gaps that we can paint on, and I think we can grab some more sap green and as just pain some leaves in between a peach and the flower, I'm going to let you see the final result off this pain thing just to give you some inspiration. So as you can see, it looks like a full reef. And it looks so far from what you're painting right now. But we're going to get there. You just need to be patient in layering the leaves and the fillers and also the flowers. So don't be afraid to paint leaves on top off the peaches and just continuously add some off those stem sticking out. Okay, so now I'm gonna grab somewhere Saptari, and you can see there's a gap right there and you're just going to paint some stem and then let's add some leaves. Let's slowly work through this wreath. So I'm just adding leaves one by one, and right there there's another spot. So I'm just going to add some stem and then right here at the bottom, you can add some leaves. We can also start layering some leaves once the first layer is already dry. This mixture has up green and indigo, so we have a dark green color, and it gives this Reese just more death. I also like adding some dark leaves for the reef because I know that I will be leaving it with some white quash, and the white wash will pop up more. If the background is dark, then you can try to add a filler just to pull your brush and stop the tip off your brush onto the paper. Then you can also rinse your brush to create a lighter value. This is a very quick and easy way to fill in some off the gaps in your wreath. Now let's grab some greenish yellow, and I'm going to paint some green Barry's, and this will look good on the SSRIs. Try to add fillers that have different shapes is that will make your Reese look more interesting. So the stamps that we painted earlier were very useful because it's now our guide and you can just attach some Berries onto the stamps that we painted. Now let's move on to Part three off this class project 22. Peach Wreath Part 3: all right, so this is now the last part of her class project, and I'm just going to grab some yellow orange and let's just paint some small fillers. I am stippling my brush and creating all of the's brush markings. And by doing this, I'm able to add pops off color all throughout the res. You can also add some. There's a bit of red color just to make it look more interesting. I'm gonna rinse my brush and get a new color. Let's use permanent violet. Let's create the same fillers, and you can use the tip of your brush. Just dub it on the paper and create thes expressive strokes as you can see him adding these fillers on the stamps that we had painted previously. All right, so feel free to use any green cord that you have in your palate. This is just a mixture off sap green with a little bit off indigo, and this is a leftover paint From a while ago, I'm going to add some more stem sticking out, using the side of the belly and just going to paint some eucalyptus like these, and I'm just going to also dab some strokes and creates an expressive markings so some off them may look like leaves some of them and look like fillers and trying to go around the wreath. And in this area, it needs a little bit of pop of color, some adding some red orange fillers. I'm looking at the street and they're still a gap over there, So let's try to feel that ended some fillers. I'm going to grab some permanent, file it and diluted with some water and going to use my brush to create some better, like strokes. Everything is coming together now, so I just got some sap green and indigo just wanted to create a darker shade of green and going to start layering some leaves. So I'm going to add some leaves on top off the first layer of leaves that we did. Now let's make some permanent violet and indigo. You're going to add some details over here, so we're going to add some more contrasts just to give it more death. So this is gonna be like the third layer. So let's add on third layer a swell into this flower, so we just have to be patient with layering. And I know that when we first created this in the exercises, we didn't add 1/3 layer. But right here you will see that it makes such a big difference. When you start layering the flowers, it looks fuller and just looks prettier. Okay, so here comes the fun part. Let's mix up some white wash and I have also changed the angle of the camera so you can see it better. Let's paint somethin lines or Lixin veins on this violet flower. Now it's being on top off this leave. I'm just going to thought my brush, and then I'm going to bunch them up together using the stem so they look like a spray off small white flowers. And then you can also add some veins into this other leaf. Now let's move on towards the bottom. Part of the reason I'm going to paint some small white buds, and again I use the leave as a background. These were the parts of you painted wash on just so you can see it. So this is the top view. So there are still some parts where I feel like we need to add Marie leaves, but I'm not going to do that yet. I don't want to overdo this wreath, so I'm going to continue with painting some details using White Wash. What I'm doing now is that I'm looking for areas where I can use it as a background for the White Wash because we want to see the quash. So I'm looking for, um, colors that are a bit darker. So we have some needs over there that have a dark value. Then we can add some veins. You can also add some Berries if you are confused as to where to put the white quash. Um, perhaps a tip that I could give the U. S. To just alternate. So if you have three leaves, then maybe you can just put white wash into one of those knees and the other thieves will be Just ask ISS with no details. Then you can also add some whitewash on this purple flower. I'm going to add some see strokes on this purple flower and immediate near the darker strokes also tried to hold the brush almost towards the end off the handle just to keep your strokes pretty loose. So this method actually reminds me off adding some snow details on the flowers. Now let's go back through some of the leaves, reminding some details and then just stabbing my brush. All right, so we're done with the wash details, and right now I'm just going to grab some sap green. Let's continue to add some leaves, so I feel like the right portion off the res looks a little saying compared toe the left side. So I'm just going to add some stems, and I'm using the stems as a guide so that I can see if I should add more deems or not. And whenever I add some fillers, I always think off the colors that will complement the main element. So for the peaches, they look good if you put them together with a violet ah, flower violet filler. And right now I'm just grabbing some yellow orange and just adding some pops off color or throughout the reef. Doing this style of fillers. It actually makes your Reese look a bit loose and try to extend the fillers a little bit so that it doesn't look too clumpy. I'm gonna keep adding some more leaves, and I can also add some green Berries. And as you can see now, the right portion of the reef is already thicker because he added some more details, and you can also add some greenish yellow just to add some pop off color has changed up the color a little bit, so I just grab some diluted Sir Julian Blue and added some fillers. I also just stabbed my brush to create thes um, beautiful brush markings. You can also use greenish yellow to add some fillers and then just paint some stems. Let's scratch a permanent red and just add some tiny strokes in the center off this flower , and that gives it more depth. And I'm going to grab some indigo and just add some details on that flower for some off the fillers, we can try to layer it a swell, so I just added a little bit off red on that yellow orange further so that's also one way to lier your Reese. Now let's add some veins on some off the leaves with no good wash details. So this is just sap green with indigo. Just choose any dark green color, and if there's a white gap in between the peaches. You can also add just a tiny bit of green and between just so that it looks like there are leaves behind it. Let me grab someone diluted permanent rose. And I'm just going to deepened the color on the shadow off this peach. Then you can just try to feed it out If it looks too harsh and this is just, ah, clean water, I'm using it to fade away. The permanent rules that he painted All right, so after so many layers, we are finally done. 23. Avocado Wreath Part 1: do you that's paid an avocado? And for us, Reese, the first thing that we need to do is we need to grow a circle using pencil, and then you need to determine where the avocados will be. So I'm gonna put two on the left and one on the right. I'm using a nine by 12 inches size off paper. All right, so now let's get some clean water. And I'm just going to paint on the inside off the outline of this avocado I drew on oval shape in the middle of the avocado, and that's going to be where the seed will be, so I won't paint on that oval shape. So for the flesh of the avocado I have here some greenish yellow, which I just diluted in a lot of water so that it's not too dark and are just going to fill in the shape off the avocado. Next, we need sap green, so I'm just going to grab some sap green and makes it on my palette, and then you're going to paint the outline off this avocado so it's still a bit wet, and you will see that you'll have some blooms over there, And if it's too much, just stab your brush in the tissue paper. Let's just go around the shape and you can grab some more sap green. Now let's rids our brush and that excess moisture just going to clean the edges off this sap green. And I'm just going to sweep my brush and make a clean edge. Just been out that sap green color. Looking at this avocado from afar, it looks like we need to add some more colors. I'm just adding some more sap green on the outline off this avocado, and then it's just reads airbrush and abd excess moisture and just sweep that sap green again and that it blend with the greenish yellow apart. Now let's go to the other avocado. So this is a whole avocado, and I'm just going to paint the inside wade some water. I'm also going to leave a white space in between these two avocados, so right now you won't really see it, but in a while, when I put some color, you'll see the white space. So I just grab some sap green and this facility move around the collar and you will see the wide space right there and then just going to slow any paid around that part. I'm just leaving that small space so that you can see that these are two separate avocados . We can also slowly fix the shape, fix the sides of the avocado, and then I'm going to grab some hooker screen and just makes it on my politics. Now that's just painted near the white space, so this will look like a shadow, and with a rinse my project opti excess moisture and just slowly try to feed away that area . So I am just trying to blend in those two colors. Now, if you want, you can add some Brent number and just added again near the white space, just to give it an earthy feel and to incent intensify that shadow. Sometimes I like having the tip of the brush with burnt umber just to give it some texture , and it just makes the avocado look more natural. So here I am, working on the other avocado on the right. This is a slice avocado, a swell, and we're just painting some clean water, and I'm avoiding over shape in the middle because that's where the seed will be. I'm using the same color that we use a while ago. This is just greenish yellow, and I'm just dropping it in. All right, so now I'm gonna outline this avocado. I'm going to grab some sap green, and the mixture is a little bit thick. If you feel like there's too much pain, just block out the excess, using your tissue paper, the experience, our brush and just block out the excess what they're. And then that's clean. Those just let them blend in with the greenish yellow part. Now it's ads and flowers. So I'm just going to grab some ultra marine blue, plus some permanent violet, and it's just mixed him up on the palate and then a Scrabble lot off water. I'm just going to dilute this color and you want, Ah, bluish violet color. I'm going to paint a flower that looks like a hydrangea, but the painting method is just different from what we practiced. Okay, so now let's just paint some four. But though flowers and just slow, depressing my brush against the paper and just create thes small flowers. So in some areas I'm not going to paint the full for battle flower. Sometimes I'm just going to paint two petals so that it looks like the other petals are like behind the other flowers. I'm beating the flowers quite close to each other, but I'm still maintaining that small white space in beteen. Let's just continue adding until we are able to create a ball shape. Once you paid a few four battle flowers, it's OK to just add some single or double petals on the outer part off this hydrangea, and then that's grabs him into go of just going to drop it in the center of the four battle flowers for the two better off hours. Just put the dot where the petals meat and doing this just gives this more depth. Now that's reserved, broad and grab some more blue violet color and then just adding some filler battles. So these air just single bet those, and it will make this hydrangea look fuller. And then we can also add some green stamps that can between those flowers just to make it look more interesting. And just to close some gaps. If some cops are too wide, all right. Now let's move on to the next video for part two off this glass project 24. Avocado Wreath Part 2: Now we're done with the hydrangea and going to add some more flowers of this reef. That's crab, some ultra marine blue, and they want the thick mixture. We're going to paint three flowers there. Um, I'm just going to start with some simple five petaled flowers. Hillary doesn't have to look so perfect because we are just going to layer this with some wash later. So if you if you have some mistakes, we can easily cover that up. I'm also leaving a space in the centre, so there's a white space in the center where all the five petals are pointing. Then it's paint another set off petals just right below. I'm keeping the petals quite pointy on the ends to so that it looks a bit more natural. Now we're going to the last flower, and then it's Just grab some sap green, and you're going to just put a dot in the center. Okay, so now we're done. And looking at this reason, I think I can add one more blue flower over there. The hydrangea has become more faint color, so I want to add some flowers beside it that are bolder and colors or that there is just contrast, and it looks better when you look at the reason. All right, so now let's move one to a top view so you can see it better. I'm going to grab some sort of Lilian blue and your girls going to paint some buds, and the way I am forming this is that it's a bit curve so that it follows to shape off the res, and you can also try to rinse your brush to create a lighter value. So I'm just displacing my brush to create a better like stroke. And sometimes I just painting a line right beside it. Now we can connect all of those buds. I just grab some sap green, and I'm just adding some stem, and you can also add some stamps sticking out and some thin leaves us well. We need one more flour over there. I'm seeing a small drop that on the rights. I'm just gonna grab my tissue and just plotted out. And then let's grab some Prussian blue that's been a rose and going to start with the center. And then let's attach some small and thin see strokes right around that center. Then I'm gonna rinse my brush and then that start being being some bigger, see strokes. Let's make sure that there are white species in between, so that came out a little too dark. So I'm just going to rinse my brush and just fade out that area. Just continue painting. Some see strokes and towards the other part of this rose. I'm fully pressing the belly of the brush to create a bigger or a wider stroke. We can rinse, airbrushed, read a lighter value, and that's just built the petals little by little, some strokes can be just lines. It doesn't have to be, Ah, a wide sea stroke again. That reading was about the sheep off this rose for now, because this is just the first leader and we can still fix this rose with the second layer . Now this change the angle. I'm already done with the rose, and this you can see there's a white cop over there. Let's grab some greenish yellow, and I'm going to paint some small pods just trying to stippled my brush. And I am varying the strokes so you can also try to vary by adding some pressure toe your bristles when you paint it on the paper. Then you can grab some sap green and just add a stem. Just attach it to the buds, and I'm also creating some expressive marks using the tip of my brush, and I'm doing this quickly so that it looks more expressive. Now we can add some leaves, and then you can raise or prosecute a lighter value and add some more leaves. So I'm adding it near the greenish yellow buds, and I'm also adding some more stems. Now we have one more gap left, so I'm just going to mix some indigo and sap green. I'm going to fill in this cab with some two stroke leaves just for your broad and make thes leaves look like they're than saying so that it doesn't look too stiff. And then you can also try to rinse your brush to create a lighter value. My trick is just to makes my sap green with any other colors on my palette. So that's how I'm able to experiment and see what works or what doesn't work. It looks really pretty when you try to change the values, or you can see here that you have darker shades of green, then you have the lighter ones, and it just has this beautiful contrast. And don't worry. You can also paint on top off the avocado. All right, so now I'm going to add somewhere leaves in this tiny gap, so I can also try to paint some small stems sticking out, and then just add some more leaves again. Don't forget that you should also try to put some stems in between these small flowers because it will make it look fuller. Just go around this reef and look for gaps where you can insert some leaves. He can grab, sap green and freshen boo, and then it's just speeded right beside the avocado and and keeping the leaves there pretty dark. As you can see, there's a beautiful contrast between the avocado and the dark leaves less pain, A stem over there. I'm just going to stamp my brush, and so the drag it to create the small leaves try to vary the shape off the leaves so that it looks interesting. Now that's tried to put a shape on the edges off this rose. I'm just going to paint some leaves all right now you can see the edge better over on this side. Let's put some small flowers. I'm using sore Iulian blue, so this will look like small pods and then it's adds up green, just addis them. So the blue color really compliments the green avocados. That's why I am adding them beside each other. Now let's add some stem sticking out. Let's makes a dark green color again. This is just sap green and indigo and a second cm, adding it there because it's a good contrast to the hydrangea, which looks a little light. Let's grab some greenish yellow. I'm going to paint some dotted fillers. I'm just going to step on my brush onto this stem. Then let's move around the read and look for some other stems, and I'm just going to start stippling again. Create some small thoughts that will look like small flowers. You can also use permanent yellow light for these small flowers because it also complements the blue flowers that we painted. So we're almost done with this section. Now let's move on to Part three off this class project 25. Avocado Wreath Part 3: do you? You're now on to part three of this class project, and they have indigo and sap green and my brush. So this is a dark green color, and I'm just going to layer some off those leaves. Let's continue delayer than these or that. This wreath looks fuller, and in some cases I'm just going to paint some small stem sticking out. I'm also trying to balance the dark believes all throughout the reef. Source. You can see I'm just moving around the reef. Now let's grab some pure indigo, and I'm just going to paint some buds. The's are dark colored buds, and they place them near the avocado just to give it more corn crests. Just make sure that your fingers are free off watercolor paint. As you can see, there's a small smudge on the right side of this reef. I did not notice that there was green paint on my pinky finger, so now it has a small smudge. Now let's continue adding some barn green leaves in placing it beside the main elements that are light colored pride vary the shape of the leaves. Some can be long and slender. Some can be some fat leaves, or you can even add some rounded tip leaves. The avocado is now dry, and you could proceed to painting the seed, so I just wet the oval shape. And now I just grab some friends number and going to spread it and just paid the shape off the seed. Now let's rinse our brush and grab a new color. This time, that's grab some sepia. This is a really dark brown color and going to use this'll ASA Shadow for this seed. I'm going to a dab my brush in the tissue paper just to get out the excess paint, and I'm adding the CPR towards the lower left bottom off the sea. Because we're working on the wet on wet technique, it's easier to blend these two color seamlessly. Now, let's add a highlight. I'm gonna dab my clean brush in a tissue paper and just lift that pain lifting that Pete will reveal the white paper under knees and we're done. So now it's We wanted the other avocado. Same technique. I'm going to wet the oval shape off the seed and then let's grab some parent number, and I'm just going to drop it in and just spread it. Let's just grab some more Brent number the restaurant's airbrush and grab some See Pia. And again, let's put some shadow to this seed by my ticket to the lower left bottom, and we're just going to try to blend it out. Then rinse your brush and dabbed excess moisture. And then you can just live off that paint to create the highlight. It's now time to add some leering on this rose, so let's just make some Prussian blue that's more concentrated and gonna paint the center to give it more death and then add somethin. C curves just around it, and then let's rinse our brush and just fade away. Some off those drugs. We can also start painting. Some see strokes using the pain in their brush so those strokes are a little concentrated and just going to try to fade away one side off that stroke to keep it soft and then just move around the rose and just keep on adding some small strokes. I also kept some of the original white species in the first layer. I'm looking at avocado, and it seems like we need to define its a more. So I just grab some sap green that's more concentrated, and I'm going to start outlining this avocado just to make it pop up. So with a clean brush, I'm just going to fade away the stroke and just make it soft and that it planned with the inside off the avocado. Let's do that on the other avocado. A swell. So when you're beating a restrike to always observe the elements that you painted, um, it's always nice to go back and add more details. Now that's crabs, um, sap green, this one, he said, the looted sap green and going to staple it on the whole avocado. And we're doing this to add some texture to it, just to add some pours on the avocado. The reason why we're using the leader sap green is because we don't want this to look too harsh when it dries and you just want a subtle look. All right, so here comes the fun part again. You're going to add some Ghalwash details. I want to start painting some veins on this blue flower. Just use the tip of your brush toe. Add something strokes. You can also try to paint to part of the lines and then just add some branches sticking out from the sides that will look like veins. So there's change the camera angle and do a close up shot so you can see it better. So as you can see, the blue flowers doesn't look perfect. So now that we're adding some good wash, were able to cover the mistakes that we did so again, you can try to pay into part of the lines and add some branches sticking out on the sides, and you can try toe, make your strokes a little bit curve, and then you can put a thought in the center of this flower. So these are the flowers that we painted on. And now let's add some more details. I'm going to paint some small white flowers on this avocado, and then let's add some small bods near these bunch off leaves. I usually try to add some go wash details on areas with a bunch off names. You'll notice that after painting some white wash, that area looks a lot better, and then you can add some Berries as well. I'm adding one very relieved so you can still see the leaf in the background. Now I'm going to start adding some white veins on some off the leaves. You can add some five Bethel flowers, and I think this is coming to life. Issue will notice that the reef is looking even fuller now because we added some good wash details. All right, so when the add some dotted fillers over there, and you can also try to look for some more imperfections if they're patchy areas, try to just paint some feelers using whitewash and cover up that mistake. If some off the goulash feelers faded once it dried, just go back in and paint another and a year just to make it. Omar opaque. Okay, so now we're done, we think Awash details. I'm just going to grab the stark green color and start adding some random veins. This will make the leaves with more interesting compared to the usual veins that were painting. I'm trying to vary the thickness off the veins so more thin, so more thick. Now let's go around the wreath and start adding somewhere leaves on areas with some gaps. Now may be the time to take a photo off your Reese and then look at it from a different perspective. So you can see if there are areas that need some improvement, like what they had explained in the previous class projects. Sometimes when you're working too much on a painting, you won't noticed up areas where you need to add some more leaves or fillers because your eyes have been used to the image off the painting. So you need a different perspective, and the trick that I do is I take a photo off my painting and just look at it on my phone. Now let's grab some greenish yellow and ads and pops off color. You can also try to mix sap green with just yellow. I'm going to grab some permanent yellow light and just add some fillers, so I'm adding them all over this'll threes. All right, congratulations and finishing your class project 26. Pear Wreath Part 1 : do you? Let's paint pair and floral sweet. So the first thing that we do is we need to draw a round shape, and then you need to determine where the Paris will be. So I'm gonna put three pairs in this reef, and in between them we're going to paint some florals. Now let's grab some water, and I'm just going to do a weapon with technique, so that's just paint the inside off despair with some clean water. Next, we need to prepare per minute yellow light, and it's just dropped that in and let it out. And then it's Grab some sap green, and I'm going to drop it in the lower bottom half off despair, then the way to try to plan it out. And then I guess we can grab some more sap green just to intensify the color and just going to slowly spread it. So it's easy to spread because we're doing the wedding with technique, and the two colors can blend seamlessly and gonna reads my brush and gets a little bit off yellow orange. And I just want to put that pours the upper half off this pair. All right, so let's just move around the paint and just blend them. At this point, you can also try to fix the shape off the pair. I'm going to intensify the yellow orange some more, so I'm just gonna drop in some more color and just try to blend it out. And then let's grab some bran thumb where I'm just going to. I had a little bit of shadow towards the bottom part of despair, and I wanted to give that earthy feel just looks more natural, and I'm also trying to just tipple my brush and just give that extra texture to despair. I'm going to makes my sap green and a little bit of the burned number, and it's just tried to add some freckles on this pair, and I'm just letting it bloom a little bit, so my brush isn't too wet. We don't want a very wet brush, or else it will spread all over the place. You want to be able to control those freckles. So right now I'm just adding a stem. You see just Brent number, and then you can just clean that up using a damn brush and blooded all the tissue paper All right, so now we're done. Now let's move on to another pair. And this time we're going to paint a slice. Spare. This is the pair on the right side, so I'm just going toe wet it, which is clean water. And then I'm going to drop in a very diluted yellow ochre color. It's not time to put on outlying to despair, so I'm just going to grab some sap green and dabbed excess paint on the tissue paper. As you can see, we're able to control our pain because the brush isn't too now. If the brushes through with, then the pain will just spread all over the place because the inside of this pair is still wet just for variety and going to add a greenish yellow on the outline. So part of it is up green part of it iss greenish yellow. So I'm doing this because I'm imagining that a pair would have different colors on the outside, so when you slices, you'll see the outline off the pair. It will have different colors, a swell on the outline, and you can also add that is a bit off yellow orange. If you want So just have fun with adding different colors for the outline. And old ray, we're going to clean up that edge. Just rinse your brush and dabbed excess moisture and tissue paper. And then now I'm just sweeping my brush on this outline and just blending the colors together. So if you feed it the colors too much, don't recon go back in and just adds a more color. Try to intensify its a more. Now let's grab some Brent number and just going to put a stem on that pair, and they're just going to wait for it to dry before he adds some more details. Now I'm going to skip the other pair for now because I'm going to paint a rose beside it. It's going toe overlap on the fruit, and you'll see why later on, let's start painting the rose and grabbing some indigo, and this is a very concentrated mixture. You can try to put a thought first before you paint the center, just so you have a guide. So now I'm just adding some small see strokes around the centre, and I'm attaching it to the center and the restaurants are brushed to dilute that color, and then I'm just going to paint some more. See strokes. As you can see, the color is now lighter, so make sure that you're leaving white species. And let's just try to zoom it in so you can see it better. He can also try to add some cerulean blue toe the end ago, so this is optional, and I'm going to rinse my brush and just feed away that stroke. It's right here of sweeping a brush from left the ride. You can also try to rotate the paper so that it's easier to paint some angles. And I'm just going to continue that. You think the pain so I can get the lighter color. And in some cases I'm using just the tip of my brush just to close some small gaps. This is easier to paint if you're painting and quickly, instead of just dragging your brush slowly. Michael, they always say, we're not really that particular about the first layer because we're adding a second layer and we can just cover up some mistakes. And I'm just trying to fade away the parts near the sender just so that we have a Grady and look, now that we're done with the rose, we can proceed with the pair right beside it. You can see the pencil sketch that they did, and you'll see that the rose overlapped the pair. So you you can't see part off the pair anymore. But I'm going to leave a white speaks right there in between these two elements, and you'll see it better when we have caller on the Bear. Earlier, we started with permanent yellow light for the first pair, but right now I'm going to start with some yellow orange. So we're just gonna have fun and try to experiment. Right now, I'm adding some permanent yellow light, and it's just spread that. And then let's grab some sap green. Just going to paint that towards the bottom half off this pair. As you can see, there's a wide space in between the pair and the rose. Let's grab a more concentrated sap green and added at the bottom just to add more shadow. I'm just gonna try to blend all off these colors pop, and I'm also going to try to fix the shape. So now is the best time to fix the shape of the bear while it's still wet. Now let's rinse our brush and let's grab some bread number. I'm going to drop it at the bottom off the spirit at the shadow and just let it bloom. That's grab some sap green and dabbed the excess paint in the tissue paper. Then I'm gonna put some thoughts on this pair, and we can also makes sap green with Brent number. So I'm just going to spread it all over the pair. This will give it a more natural look. So now that's crab somewhere in Brent number and just going to add aced them. All right, so the slice Paris already driving the grab some yellow Oakar and let's makes a very diluted your broker and just put a vertical line in the middle off this sliced pear. All right, so that looks good. And then it's add some seeds I'm using sepia. This is a dark brown color, and you want the really concentrated mixture just paint to overalls, so everything's looking really good. And now let's move on to Part two off this class project, just click the next video 27. Pear Wreath Part 2: do you now? We're done with the three bears and the rose I'm going to paint if our over there and it's just grab some permanent you'll night. I want to paint a five petal flower, so just press your brush and just slowly drag and lift to create an expressive stroke. And sometimes you can just paint a line using the tip of your brush. Now let's grab some yellow orange and just going to add it to the tip off my brush. And as I paint this stroke, you'll see that it has become too toned, so you can also do that trick, and then you can. Also, rents are brush to create a lighter value, and then it's crabs and yellow orange. So try to use different parts off the brush to create a Pethel, and you will discover that you'll be able to create different types of brushstrokes. So I'm going to show you the photo off the final pain dangerous so you will understand, um, what we're painting. Just rinse your brush and now let's grab some permanent red and makes it honor palette just going toe added on the edges off the pedals and We're doing this to just add some more definition to this petal and make it look more interesting. Now let's try to fade away, some off those strokes and that the plan with the other colors okay, it's looking good and then could proceed to adding some details in the centre. Less trans air brush and get some Brent number. I'm just going toe thought my brush in the center, just them the tip of your brush so you can create some small dots, all right, and now we're good. So let's move on to a different flower. Let's paint a daisy like flowers. I'm going to start with some yellow Oakar. This is a thick mixture, and that's just paint a round shape with some fuzzy edges. Now let's add some battles, and I'm going to grab some civilian blue and add a lot of water. You can also makes an Elizabeth of Indigo. Just make sure that this mixture it's really the lieutenant and just try to drag your brush onto the paper to create thes small strokes. I'm also pulling away some off those yellow joker as well. You'll see that some off the petals will have a greenish color. That's because the through and blue and the yellow occur mixed together. And I'm you saying Sir Julian Blue with a little bit of indigo just to mimic. Ah, white petal. You can also just use planes, ruin blue or plain indigo if we don't have the two colors and that's okay. Now let's add some C p A. And I'm going to dab this brush in the tissue paper and then let's just add a ring off dots . And as you can see, I'm able to control this pain because we blotted out the access pain in her brush. The list Restaurants are broad and dabbed excess moisture just going to pull. Always, um, off those colors and dragging the CPR color out warned. I'm doing this to add more shadow. Do this flower. If it's not dark enough, you can grab some indigo and just put it on top off the CPR color that you painted. And then the streets are brush and that excess moisture. I'm just going to pull away the caller's again and just drive the cooler outwards. And as you can see, the petals are now more defined. Let's go back to this flower in a while, I'm going to add one more flour on the left side, and this is facing side view. This is just yellow ochre again, and I'm going to rinse my brush and grab some very diluted cerulean blue. Just drag your brush and create those thin battles, and you can also go over the pair. Since we changed the angle of this flower only painting full pedals on half off Thief flower. Let's add some more definition to the centre. I'm Grammy. Some see Pia and just starting it on the edge off that yellow Oakar oval shape. So I'm just gonna dab my brush and clean the edges, and then we can grab them into go and just darken that outline. Let's rinse, airbrushed that excess water and just pull away some off those dark colors. If some areas look muddy, you can just try to live some of those paint. Now let's paint a smaller they see, and it's also free, saying sideways, and we just use yellow car again for the center. And then I'm grabbing some the looted civilian blue, and it's been some petals that's facing downwards. You can have a. There is a bit more off that yellow courage is to fix the shape, all right. So instead of using CPR, I'm going to go directly to Indigo and just that bit over there. She ate the dark outline and then let's rinse our brush, dab the excess water, and again, we're just going to pull away that color and move it towards the petals. I used to tip off my brush to do this. Now we're done with the mean elements, so it's already time to add some leaves, and I have here some sap green in my brush. You can make sap. Green made a little bit off indigo to create a dark green color. Now let's put that near this rose. You can also make C P A and sap green create that earthy and dark green cholera swell, and I think it complements this Reese very much. So now we're adding some darker shades of green near this pair because it just makes this fruit pop up some more. Now I'm grabbing some sap green, and I'm adding it beside the leaves that pass an earthy color, and you can also try to rinse airbrush to create a lighter value. Let's play around. I have something Julian do left in my palette and just gonna add it to my sap green so that we can have another color, another shade of green. There's a white space in between this orange flower and the pear fruit, so that's just grab some sap green and add some leaves. And then I also makes sap green with indigo. Now to create a darker green. Don't be afraid to change the angle of the leaves. Now let's grab one of my most used colors. This is greenish yellow, and it just creates this pop off color in any reef. So if you don't have this just makes your yellow and some sap green, let's make some pressure and blue and sap green going to paint some leaves. And as you can see, I painted stems first before I painted the leaves. I think that meeting stems first before you pay the full leaf. Um, it helps you prevent making any mistakes. Use the tip of your brush to create some expressive stems, Oh, case and I'm gonna rinse my brush to create the lighter value to create an earthy green color. GIs mix up green with any brown color. Sometimes I like mixing sap green with burnt sienna. Swell if you want, the deeper she mix, sap green and see PIA to create a more hormone use color. Usually, what I do is I grab the colors off the main elements. And then that's the color that a mixto, my sap green to change the colors off the green leaves in my reef. So if you'll know this, I use into go for the rules and they use also see Pia for the day sees, and I mix these colors with my sap green. Now I'm going to paint some slender and leaves right beside this pair, so just try to mix the colors of the leaves here. So if the leaves here are a combination of sap green and sepia, some are sap green and prussian blue, and I'm also adding some stamps sticking out. All right, let's try to close this'll white gap and I just grab some sap green with indigo again. Now that's paint some round shaped leaves, and this is a mixture of sap green with a little bit off Prussian BJU. I'm also rinsing my brush to create a lighter value. Now let's grab some sap, agree and paint a sin line, and then add some branches on those branches and going to create some small leaves. And I'm going to just tamp my brush to create thes small brush markings. I'm with the ads and greenish yellow and stamp my brush, and then let's have a different shade of green. This one is a mix off Prussian blue and sap green, so just try to vary the colors that you will use for this leaf. This is a fun leave to paint because it's so easy. You'll just need to staple your brush on the paper. I saw another white gap, so I'm going to just paints and leaves over there. And then we can also paints, um, green Berries. You can use any green color that you want. I'm gonna keep adding the reason leaves, and then now let's we want a part three off this class project 28. Pear Wreath Part 3: do you wear now into the last part of this class Projects. As you can see, some parts are still a little sparse, and we still need to add somewhere leaves. So my default color for adding leaves a sap green. That's just add some more in some off the white caps. I usually look at the main elements, such as this orange flower, and I would always add some leaves just around this main element, and it's getting dark green color. This is just a mixture off sap, green and indigo. We can add some stems and just fill in tum off the smaller gaps. We can also start layering so off the leaves. I'm gonna do that on the left side of this Reese. So layering just means that you're just painting on top off the previous leaves that you painted. Now let's mix up on Earth green color. So I'm mixing sap green and see Pia and just going to add some off those leaves near some areas that have a lighter color off leaves. So I'm mixing the dark and light colored leaves. Now we can add some Berries, and I just use in to go here, you can use any dark blue color that you have now we can add some veins on their leaves, and I'm just mixing up some sap, green and indigo. Just a darker color. Um, and then now we're going to add some random strokes, and you can add some lines in this round tip leaf. So look for light colored leaves, and that's where you put the veins. It just gives the wreath more depth if you try to layer your leaves, all right, so let's change the camera angle and try to observe the left side on the right side. Off the wreath, the left side looks fuller because we added some layering. We added some vain details, and the right side looks a bit plane because it still doesn't have some veins on the leaves . In the previous class projects, we actually added the white quash first before adding the veins. But in this case, I added the veins first. Before I will add the White Wash details So glorious Regis, a mother off preference. Both styles will end up with a good painting. Let's try to layer the leave some more, and as you can see I'm also trying to extend some off the leaves so that it doesn't look too clumpy and so that it looks quite loose on the edges. Now let's add some Berries so you can change the color of the Berries. You can make it green. You can make it blue, so it depends on what you want to add. I'm adding the Berries to add contrast, as you can see the day see flowers their life in color. So I have decided to add some dark Berries to give it contrast, and it will make the DC's pop up. Now let's makes up a very diluted indigo color and going to just paint some lines on the petals off thistle are they see, and these lines will look like their shadows or kind of the folds off the pedal. Now let's grab a CPR color, or you can also grab indigo. That's okay and just going to intensify the center off this flower again because it ah faded when it dried. Let's start leering this rose. I'm going to grab a very concentrated indigo color for the center. I'm going to follow what we painted in the first layer and just pile up some darker paint and then the gadgets a few thin see strokes, and then we're gonna rinse our brush and again start feeding as you can see, even if I risked my brush there still color in my brush and going to paint some more of those See strokes. They're not too thick. So try to paint swiftly and hold your brush towards the middle off the handle to keep your hand quite loose. And make sure that you're leaving some white species in between those strokes so you can also try to blood your brush in the tissue paper so that you won't get a puddle on your strokes. Then, if some areas are too dark, just try to feed it away with a damp brush. All right, so we're just gonna have find it with this part. This is optional. I just added just a few thoughts off red and also yellow orange color in the center of this rose. So I added colors that they also used in the other main elements off this reef. This is to ensure that we have a color harmony within this Reese, so we're done with the rules and then going to grab some permanent red and add some more details on the orange flower. So the orange flowers already dry. So every time I add a stroke, it will look quite sharp. All right, so I'm looking at the day, see, and it seems like me to add some more details to define the petals. So I'm just grabbing a darker indigo mixture and then painting some strokes in between the petals, and then you can try to fade it away, using a damp brush. Are you needed us ISS? So this reef is all about layering and adding more details. Let's just intensify this pair. I'm going to grab some deluded sap green and just paint the outline again just so it will pop up some more in this res. We're done with the details, and it's now time to add some white wash. So I just squeeze a small amount, and now I'm just trying to melt it away. You saying just a little bit off water because he still want this wash to be opaque. I'm going to start with some five petal flowers and then just lightly dabbing my brush to create some PETA like strokes and them adding all whites, them, us well, And then you can add some white veins on the leaves. You can also add some single strokes on each leaf. I'm anything like wash details in areas that look a little flat. So I'm trying to spread out the fight petal flowers and trying to add it all over the wreath made some spacing. When you're painting the class project, don't feel the pressure that you need to follow what I'm doing. So just always remember that this is your reason. And it will always look different from what I do, because we all have unique ways of painting for your free to add some wash details on places where it feels right for you. Just try to hold the painting from afar and observe it and see if some areas need a pop off color. So right here I just added some white Berries, and it looks great on that area Now. I found a big fat leaf over here at the bottom, and I'm gonna add some dotted filler. Let's go back to that orange flower and add some whitewashed details and just going to put some small dots in the center. Now this is optional. I decided to add some white gosh details in the center of this day. See, and I'm adding it near that dark color. You immediately see the big change in this reef because off the white gorosh details that we added. All right, now we're done with the wash and just going to grab some green colors, and I'm slowly add some more leaves, and I'm actually just mixing any color on my palette, and I'm adding it to my green I. And of course, you can add some stamps sticking out, and that will make it go more natural and the small finishing touches. Sometimes it really creates a big change in the overall look off this wreath. If you plan to put a writing or a coat in the center of this wreath, maybe you might want to adjust the leaves that are facing the center. But in this last project, I don't intend to add some coats in the middle, so I'm OK with the center looking so lush. Okay, it's okay to stop once in a while and just look at your wreath and see if you need to add some more details. And right now I'm just gonna grab some greenish yellow and going to add some fillers. I feel like this needs a pop of color in some areas, so this is a great way to do that. You can also use permanent yellow light, alright, and er done. 29. Mango Wreath Part 1: do you next paint mango and florals wreath. So the first step is that we need to draw a circle. So just used any round object and trace the shape. And then we need to pinpoint where the mangoes will go. So I have three mangoes that I will put in this reef, and it'll paints of flowers in between the mangoes. I have uploaded the photo off this final painting in the resources section off this class, and you can download it. Let's do a wedding with techniques. I'm going to just brush on some water on the inside off this mango. This is just clean water, and then this grab some permanent yellow light. So I know that models have different varieties, and this mango is similar to what we have here in the Philippines. It's just feel free to change the color and also the shape, depending on the mango says you're used to seeing all rise. And now I'm gonna add some sap green just to give it the look that it's not fully ripe. Now let's add some yellow range towards the bottom off this mango, just to give it some shadow. And with a clean brush. I'm just going to blend all the colors together. We can grab a little bit more off that yellow orange and just dab. It has the bottom off this mango. Before I started painting on the second mango, I'm just going to slightly erase the pencil sketch using a kneaded eraser, because once I paint on that pencil sketch, I won't be able to erase it anymore. So we need to light in the pencil sketch before we paint on it. I already brushed this area with some clean water, and now I'm adding some sap green and then points the bottom. I'm going to add some permanent year little light and just makes those two colors I suggested in your painting. A fruit wreath. Try to add fruits in different stages off ripe nous. So, for example, this mango, when it's not yet ripe, it's off green so you can paint some green mangoes and then mixed up with some yellow and ripe mangoes. Now that's adds, um, yellow range as a shadow. Just drop in that color. We can rinse airbrush and abd excess water and then just try to feed away that area and then You can also intensify the greenish area, so I'm just going to mix permanent yellow light and sap green and just that bit on the paper. Let's move on to the third mango and just going to paint it again with some clean water. It would be best if you can have a really fruit in front. Off you ask your reference so you can turn the fruit and just change the angle so that it will look interesting in your fruit trees. All right, so I just added some sap green, and now I am mixing up some yellow light. Just try to blend those two colors, and then this either shadow again. I'm going to grab yellow orange. Let's rinse airbrush and abd excess moisture so we can try to blend thes color seamlessly. Let's start being things and flowers. I'm going to start by mixing permanent violet and permanent rules. All right, so we got the right color. I'm going to paint some four Peto flowers, and these will look like a hydrangea. You can try to fire either value, so some can be a bit darker. I can grab a little bit of permanent violet toe add some intensity to this flower, and then you can rinse our brush to create a lighter shade. So not all the flowers need to be four petals. You can try to paint some single petals or double petals. That's okay and actually growing this flower just by adding some single petals all around the edges. Now it's grabs impermanent violet. So as you can see, I'm varying the colors, and then we can greens are brush and just add a very, very light color. I'm almost just pulling some color from the dark oper mint violet color. Now let's grab some yellow orange, and you're going to paint a five petal flower right below this mango, so I'm just going to keep it pretty. Lose and or not so strict about the shape don't really about it, because we're going to layer this and also going to add some more leaves and fillers. You can rinse your brush to create a lighter value, and you can also try to move your papers, or that it's easier to paint some angles off the petals. All right, so now the scraps improvement red and going to put that in the center off this five better off flower, and this is what will bring all the petals together. Now let's grab some indigo and put a thought in the center. So while waiting for this orange flower to dry, I'm going to start with another flower that scraps and permanent yellow light and going to paint in Dalia. So I just put a small god over there just as a guide and from that thought, tried to add some Elon gated. See strokes, as you can see in trying to sway my brush left and right or right to left. You can also try to rinse your brush to create a lighter value. I like to keep the ends off this stroke pointy. Let's keep adding some petals until we are able to form a round shape while waiting for this to drive. You're going to move on to the hydrangea and add some. There's I'm gonna mix up some permanent violet with a little bit off ultra marine blue. Let's add the second layer. This looks too dark, and I'm just going to rinse my brush to create a lighter value. And it's just keep on adding some petals. But make sure that you can still see the color underneath now when I had a bit more off the ultra marine blue just to intensify this mixture and going to keep adding some single petals, so just vary the color. I'm just going to makes permanent rose and permanent violet, and we're gonna use that color and paint some more petals, and you can dip your brush in the water jar just to light in the value and just keep adding some strokes. I usually add the lighter strokes stores. Three. Alter part off this flower. All right, so now let's makes up some ultra marine blue and permanent violet again and just going to intensify some areas by dabbing my brush and creating some more concentrated areas. All right, just fewer brushstrokes and we're done with this flower. Let's now move on to part two of this class project 30. Mango Wreath Part 2: do you moving on to part off this class project? Let's go back to the stallion. I'm going to grab some yellow orange and you're going to layer this flower. I'm dragging my brush and creating some curve strokes. Let's Which one is the dry? And in the meantime, I am going to go back to the other orange flower. That's grab some permanent red. I'm going to add some veins on this flower. Make sure that it's already dry before we do this technique. So the mixture off this red paid is quite concentrated because I want to create some opaque lines and just use the tip off your brush to create these veins. I usually start my brush strokes with a light pressure, and I will slow the apply more pressure towards the center. And then as I lift my brush, I'm going to apply light pressure again. All right, so this dollar is already dry. Let's go back in and add 1/3 layer. This is still permanent red in my brush and this time adding fewer strokes compared to the 1st 2 layers. As I'm adding this third layer by making sure that you can still see the first and second layer petals. Let's add heroes over here and going to grab some sap green. It's thought, the usual color that we use for roses, but it's OK to experiment, and I'm going to pay the center first. And then it's add somethin strokes around it and with a rinse my brush and grab some greenish yellow. I'm just going to kill you this color. And then let's try to add some, see strokes around the center and still leaving some white space ISS. He can also try to rinse your brush to create a lighter value. Just to give this flower more death, I'm gonna grab some indigo, Ah, thick mixture and ever gonna drop it in the center of this Reus with a damp brush. We can try to fix that indigo pain and sort of feed that away. All right, so we're done with all the main elements, and now I'm gonna add some these over there. Let's prepare some sap green and have submarine on my palette and also have sap green and indigo, and I have mixed them ahead of time. I'm going to paint some two stroke leaves and amusing my size eight ground brush just so that I can work faster because I can paint bigger leaves lessons airbrush to create a lighter value. Just try to mix up dark and light colored leaves, so try to observe, and it looks more beautiful now because it doesn't look flat. We have different colors off green leaves. I'm going to keep on adding some leaves, and I'm going to show you the final painting. So as you can see that area where the leaves are, I'm going to put a lot off white wash flowers so it's going to be covered up in the end. But we wanted to be, um, quite dark so that the wash will be seen so you can also add some greenish yellow leaves just to give it a pop of color. In this part, I did not notice that make cameras stopped recording, but I just added some leaves on the left side, and I've close a white cap in between the two mangoes over there. I've also added some Berries on the right side over there, and I just used some sap green color and also permit Violet. I added a violet Berries to complement the yellow mango and also the orange flower. Now let's make sap green and CPR to create an earthy green color, and let's paint some more leaves. You can also add some stamps sticking out and also a eucalyptus stock. So just paint some oval shapes on top off the stamps that you painted. He also tried to rinse your brush to create a lighter value. Now that's being some law and slander leaves. I'm just going to use a tip off my brush to create a stroke, so it's a sane stroke, and you can make it a little curve. I still have the sap green and sepia color combination in my brush, and I'm going to just make some long and slender leaves just drag my brush across the page and also tried to make it a little curve. Looks like an s shape. You can also rent your brush to create a lighter value so you can make some dark and light colored leaves again. And for me, this is one of the most relaxing leaves to paint, and it's also very easy to paint. You can up to start meeting from the center, going outwards or in some cases I paint from the outside, going to the center off this stock and try to vary the direction off the leaves so that it looks more natural. Let's grab some greenish yellow and going to paint some buds in that white cap just to change it up a bit and going to grab some sap green and added to my greenish yellow color. And then it's pain, another bud. So we've covered up that big chunk off white Gap, and now there are small gaps in between. I'm just going to paint something strokes that we look like stems. All right. Now let's grab some sap green, and you're going to start adding some more. These and we're going to fill in this floral res. Let's look for species in between the main elements, and that's where I'm going to add the leaves. So right here I'm just dragging my brush to create that pointy tip, and they also rinse my brush to create a lighter value. Now I just grab some really thick permit Violet, and I'm gonna add some bark Berries leaves beside this orange flower. Just make it pop up some more and then ascribe some sap green. And they're still a space in between this green rose and mango. So just try to move around this trees and pain, some stem sticking out. They just have fun with it. This read is looking good, and that looks fuller. So now let's move on to the part three off this class project. 31. Mango Wreath Part 3 : we're now in the last part of this class project, and here I'm just mixing my white wash with a little bit off water until I get that creamy consistency that start painting some small flowers in that area. And some flowers can be five. Bethel's, um, can be, for I'm going to start feeling in this area with just a lot of small flowers. Way can also start adding some veins on. Do some off those leaves. Let me grab some more white wash and going to add some small strokes all around the center off this orange flower and just put a small thought in the center color right, and that's add some veins over there. And I'm just looking at the other leaves and checking out which ones I can put some details on. And this dark leave looks pretty good. It's been some dotted fillers, and I'm just going to change the angle of the camera so you can see it better. The small thoughts will look like small flowers in case I had one more detail over there, and then let's rinse our brush and I will try to grab some dark green color. It's a mixture off indigo and sap green. Now we can add some veins on some off the leaves, so it's nice to mix up the way we add veins to the leaves. Some off the veins are made off watercolor strokes, some more painted with white quash. And in some areas we can add some extra. And Eve's us? Well, I'm going to grab some greenish yellow and add some fillers over there and just give it a pop of color. Let's rinse, airbrush and grab some yellow orange and just makes it on their pile it. This time I'm going to create some yellow orange fillers, and this is the same stippling motion for these kinds of fillers. I would suggest using the colors that you use for the main elements, just so you can create a more harmonious reef. And also it's easier to decide on the colors that you will use that's grabs a more sap green and just add some more leaves. So this looks a little light. I'm gonna add a bit of indigo and just paint on top off that belief. Now you can also start adding some veins on the's buds and then painting some curve lines. In some areas, you can just dab your brush, create some expressive strokes. Or you can add some stuff sticking out just to close some white gaps and just gonna grab some more yellow or age and add some fingers. So I'm trying to violence the way I add some fillers, and they wanted to be spread out all throughout the res. Now that's add some leaves near this hydrangea just to define the edges off this flower. So it's OK to stop from time to time. And just observe the areas where you need to add some more fillers or leaves. Take your time in building this reef so that it looks really lush, and here just added some indigo on the loans. Lender leaves just to define it some more, and you can add some veins in some off those leaves. As you can see, I'm just moving around this reason, looking for leaves to improve. Let's add some Lear to this rose. I just grab some greenish yellow and diluted it with water, and I'm just adding some see strokes all around this rose just to give it more definition. Now we can add some Berries and a musical drew marine blue, but you can also permanent Violet. This is just to give some contrast through that area. So I want to intensify the color of the mangoes because they look a little pale. So I'm just gonna wet this mango again. We just clean water and I grab some yellow orange and also some permanent yellow light. And I am trying to paint another layer just to make them pop up some more. Just a tape when your baby fruits always remember that the colors you choose should make this fruit look delicious. So I'm going to go back to this hydrangea, and this is optional. But I'd like to deepen this off lower by adding some darker petals. You seeing permanent Violet, I'm just gonna grab something to go and just put back that color in the center of this flower because it looks faded. All right. We are done with the last class project. I hope that they enjoy creating this with me. 32. Final Thoughts 1080p: I think so. This wraps up my class. Thank you so much for watching hope that you learned a lot. Today I look for more three class projects and just to summarize the project, remember that the first thing is that you'll need to draw a round shape as a guide for your wreath. Then you have to choose the fruit that you want to paint. And then, based on the fruit, you can try to determine the colors that will complement the color off the fruit and then just try to block it on the round shape that you just did. You can use a pencil sketch just so that you have a guide, and that will make it easier for you to know where to put the other elements off the reef and then start painting the main elements off the floral wreaths and in between those four elements, add some fillers and leaves, and just to give it a finishing touch, I had some good wash off laurels for fillers that will give your corollary another dimension. Don't forget to upload your class project in the Project gallery section of the class, and also, if you're going to post it on. Instagram used this hashtag so that I can see your work. That's it. I will see you in my next class. Bye.